ib. 


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0 


IMOGEN   BEFORE  THE   GAVE  OF   BELARIUS 


Copyright,    1 90 1 

By 

THE    UNIVERSITY    SOCIETY 


LIBRARY 

CYMBELINE. 

Preface. 

1^0   ( 

The  First  Edition.  "The  Tragcdie  of  CymhcUne" 
was  first  printed  in  the  Folio  of  1623  ;  it  is  the  last  play* 
in  the  volume,  where  it  occupies  pp.  369-399  (misprinted 
P93).  It  has  been  found  desirable  to  remove  it  from  its 
position  in  the  Folio  so  that  it  may  be  included  in  this 
volume  of  "  Comedies." 

The  place  of  Cymbelinc  in  the  First  Folio  has  led  some 
critics  to  infer  that  it  was  included  late,  and  as  an  after- 
thought. The  text  of  the  play  is  certainly  unsatisfactory, 
and  possibly  represents  in  many  cases  the  Poet's  "  rough- 
cast notes  "  rather  than  his  finished  work. 

Doubtful  Passages.  The  Vision  in  Act  V.  Sc.  iv. 
was  probably  by  some  other  hand  than  Shakespeare's ;  it 
recalls  the  problems  connected  with  the  Masque  in  the 
Fourth  Act  of  The  Tempest;  in  both  cases  it  is  impor- 
tant to  remember  the  fondness  for  this  species  of  compo- 
sition during  the  reign  of  James  L  The  Vision  may  have 
been  inserted  for  some  special  Court  representation. 

The  exquisite  simplicity  of  the  dirge  sung  by  the  broth- 
ers over  the  grave  of  Fidele  (Act  IV.  Sc.  ii.)  seems  to 
have  raised  doubts  in  the  minds  of  certain  commentators 
as  to  the  authenticity  of  the  lines ;  they  have  found 
"  something  strikingly  inferior  "  in  the  concluding  coup- 
lets, both  in  thought  and  expression;  they  would  reject, 
as  ''  additions," 

"Golden  lads  and  girls  all  must, 
As  chimney-szveepcrs,  come  to  dust," 

preferring  no  doubt  Collins's  more  elegant  rendering: — 


Preface  CYMBELINE 

"  To  fair  Fidele's  grassy  tomb 

Soft  maids  and  village  hinds  shall  bring 
Each  opening  sweet  of  earliest  bloom. 
And  rifle  all  the  breathing  spring!" 

The  "Tragedy"  of  Cymbeline.  The  editors  of  the 
First  FoHo  erred  in  describing  CyinbcUnc  as  a  "  Tragedy," 
and  in  placing  it  in  the  division  of  "  Tragedies  "  ;  '  all  is 
oiitzvard  sorroiv '  at  the  opening  of  the  story,  but  its  close 
is  attuned  to  the  harmony  of  peace  and  happiness,  and  the 
play  thus  satisfies  the  essential  conditions  of  "Romantic 
Comedy,"  or  more  properly  of  Shakespearian  ''  Tragi- 
comedy,"— life's  commingling  of  tears  and  laughter,  sor- 
row and  joy,  joy  triiuuphant  in  the  end. 

Date  of  Composition.  No  positive  evidence  exists  for 
the  date  of  composition  of  Cymbeline ;  the  probabilities 
are  in  favour  of  1609-10. 

This  limit  may  be  fixed  from  a  notice  in  the  MS.  Diary 
of  Dr.  Simon  Forman,  a  notorious  quack  and  astrologer. 
His  "Book  of  Plaies  and  Notes  thereof  for  common  Pol- 
licie'''^  shows  him  an  enthusiastic  play-goer;  it  contains 
his  reports  of  three  Shakespearian  representations  at  the 
Globe  Theatre  in  1610-11 ;  Macbeth  is  referred  to  under 
the  former  year  (possibly  an  error  for  161 1)  ;  The  Win- 
ter's Tale  was  witnessed  on  the  15th  of  May,  161 1,  two 
or  three  months  before  the  diarist's  death  ;  Cymbeline  un- 
fortunately has  no  date  assigned;  there  is  merely  the 
statement,  preceding  an  epitome  of  the  plot, — 

"  Remember  also  the  story  of  Cymbalin,  King  of  Eng- 
land in  Lucius'  time." 

Cymbeline's  influence  on  Beaumont  and  Fletcher's  Phi- 
laster  (cp.  the  characters  of  Imogen  and  Euphrasiaf)  is 

*  Among  the  Ashmolean  MSS.  (208)  in  the  Bodleian  Library; 
privately  printed  by  Halliwell-Phillipps. 

t  As  a  single  instance  of  the  borrowings,  in  thought  and  phrase- 
ology, the  following  may  be  noted : — 

"''  The  gods  take  part  against  me;  could  this  boor 
Have  held  me  thus  else?"     {Philaster,  IV.  i.). 
Cp.  Cymbeline,  V.  ii.  2-6. 


CYMBELINE  Preface 

noteworthy  :  the  date  of  the  latter  play  cannot  be  definitely 
fixed,  but  the  evidence  points  to  circa  1610-11;  1608  is 
the  earliest  date  critics  have  assigned  to  it.  Similarly 
Webster's  ""  White  Devil,  or  Vittoria  Coromhona,"  printed 
in  1612,  and  written  circa  1608,  owes  some  of  its  tenderest 
touches  to  the  most  striking-  scenes  in  Cymhelinc. 

The  relation  of  these  two  plays,  to  the  present  play,  as 
well  as  certain  striking  resemblances  between  scenes  and 
situations  in  Cyinbcline  and  Macbeth  (e.g.  Act  II.  ii.,  com- 
pared with  Macbeth,  Act  II.*),  have  led  to  the  conjecture 
that  some  portions  of  the  work  were  written  as  early  as 
1606-7,  the  whole  being-  completed  in  1609-10;  one 
scholar  assigns  to  the  former  date  Act  II.  Sc.  i.,  and  Act 
V.  Sc.  ii.-v.f  Another  scholar  J  calls  attention  to  a  change 
of  treatment  to  be  found  in  the  character  of  Cloten ;  in 
the  earlier  scenes  "  he  is  a  mere  fool  "  (e.g.  I.  iii.,  II.  i.)  ; 
in  the  later  "  he  is  by  no  means  deficient  in  manliness,  and 
the  lack  of  his  counsel  is  regretted  by  the  King  in  Act 
IV.  Sc.  i."  He  finds  in  Act  III.  Sc.  v.  corroboration  of 
his  view,  pointing  out  that  the  prose  part  is  a  subsequent 
insertion,  having  some  slight  discrepancies  with  the  older 
parts  of  the  scene.  According  to  this  view  the  story  of 
Cymbeline  and  his  sons,  the  tribute,  etc.,  in  the  last  three 
acts,  was  written  at  an  earlier  time,  in  i6o6.§ 

More  important  than  these  questionable  theories  are 
the  unmistakable  finks  connecting  Cymbeline  with  the 
Shakespearian  fragment  of  Pericles,  with  The  Tempest, 
and  especially  with  The  Winter's  Tale — the  crowning 
glories  of  the  close  of  the  Poet's  literary  life;    what  the 

*  Some  of  the  parallels  are  certainly  noteworth}^ ;  thus,  the 
reference  to  Tarquin  (11.  12-14)  recalls  '  Tarquin's  ravishing 
strides '  {Macb.,  II  i.  55,  56)  ;  "  lac'd  with  blue  of  heaven  s  ozvn 
tinct"  (11.  22,  23)  may  be  compared  with  Duncan's  'silver  skin 
laced  with  his  golden  blood'  {Macb.,  II.  iii.  118),  etc. 

t  G.  M.  Ingleby  {cp.  his  edition  of  "  Cymbeline,"  1886). 

t  F.  G.  Fleay. 

§  Cp.  "A  Chronicle  History  of  the  Life  and  Works  of  William 
Shakespeare." 


Preface  CYMBELINE 

present  writer  has  said  of  one  of  these  may  be  said  of  all : 
"  On  all  of  them  his  gentle  spirit  seems  to  rest ;  "  Timon 
the  Misanthrope  '  no  longer  delights  him ;  his  visions  are 
of  human  joy — scenes  of  forgiveness,  reconciliation,  and 
peace — a  world  where  father  is  re-united  with  child, 
husband  with  wife,  brother  with  brother,  friend  with 
friend.  Like  his  own  Miranda,  Shakespeare  in  these  Ro- 
mances again  finds  the  world  beautiful : — 

'  O  wonder! 
How  many  goodly  creatures  are  there  here! 
How  beauteous  mankind  is!    O  brave  new  world 
That  has  such  people  in  't! ' 

Perhaps,  after  all,  John  Heminge  and  Henry  Condell 
knew  what  they  were  about,  when,  in  defiance  of  chro- 
nology and  of  their  own  classification,  they  opened  their 
precious  Folio  with  the  wonders  of  Prospero's  enchanted 
island,  and  closed  it  with  '  the  divine  comedy  '  of  '  Pos- 
thumus  and  Imogen.' 

Sources  of  the  Plot.  The  main  plot  of  the  play  is  the 
love-story  of  Posthumus  and  Imogen :  this  theme,  with 
the  famous  '  wager-;/zc>/// '  and  the  '  chest  intrigue,'  is  set 
in  a  framework  of  pseudo-British  History,  and  blended 
with  episodes  belonging  to  that  mythical  epoch. 

I.  The  Historical  Element.  So  far  as  the  names  of 
the  British  King  (whose  reign  was  contemporary  with  the 
birth  of  Christ),  his  two  sons,  and  stepson,  are  con- 
cerned, the  historical  element  was  derived  from  Holin- 
shed's  Chronicles  of  England  (Bk.  HI.;  ch.  xiii.-xviii.)  ; 
some  few  meagre  incidents  were  taken  from  the  same 
source,  notably  the  original  of  Posthumus's  account  of  the 
battle,  and  of  his  description  of  the  changed  fortunes  of 
the  fight,  summed  up  in  '  a  narrow  lane,  an  old  man,  and 
two  boys/  The  source  of  this  episode  is  found  in  Holin- 
shed's  History  of  Scotland,  near  the  chapters  dealing  with 
the  story  of  Macbeth. 


CYMBELINE  Preface 

The  mere  name  of  the  heroine  is  also  to  be  found  in 
Holinshed's  account  of  ancient  British  story ;  but  it  is 
clear  that  Shakespeare  was  already  familiar  with  the  name 
when  engaged  on  Much  Ado  About  Nothing;  in  the 
opening  stage-direction  of  this  play  "  Innogen  "  is  actu- 
ally mentioned  as  ''  the  wife  of  Leonato." 

II.  The  Story  of  Imogen,  The  story  of  Imogen  was 
derived,  directly  or  indirectly,  from  the  Decamerone  of 
Boccaccio ;  it  is  one  of  the  Second  Day  Stories,  "  wherein 
was  discoursed  of  those  who  after  being  baffled  by  divers 
chances  have  won  at  last  of  a  joyful  issue  beyond  their 
hope."  The  Ninth  Story  tells  ''  how  Bernaho  of  Genoa, 
duped  by  Ambrogiiilo,  loseth  his  good  and  commandeth 
that  his  innocent  zvife  be  put  to  death.  She  escapeth  and 
serveth  the  Soldan  in  a  man's  habit.  Here  she  lightetM 
upon  the  deceiver  of  her  husband  and  bringeth  the  latter 
to  Alexandria,  where  her  traducer  being  punished,  she^ 
resumeth  woman's  apparel  and  returneth  with  her  hus- 
band, rich." 

This  rough  outline  of  the  plot,  at  the  head  of  Boccac- 
cio's story,  indicates,  somewhat  at  least,  how  far  Shake- 
speare's version  departs  from  the  Italian.  Shakespeare 
may  have  read  the  story  as  told  in  the  Decamerone,  but 
there  were  many  other  renderings  of  the  theme,  which, 
perhaps  originally  belonging  to  Byzantine  literature, 
found  a  place  in  Old  French  Romance  and  Drama  long 
before  it  reached  Italy;  in  all  probability  "  The  Romance 
of  the  Violet,"  by  Gerbert  de  Montruil,  circa  122^,  was 
the  source  of  Boccaccio's  novel. 

From  the  French,  rather  than  from  the  Italian,  were 
derived  the  oldest  German  and  Scandinavian  stories  of 
'"  The  Four  Merchants;  or,  The  Virtuous  Wife."  Some 
such  English  variant  of  the  Imogen  story  was  probably 
current  in  England  in  the  sixteenth  century,  and  may 
account  for  certain  features  of  the  play;  e.g.  the  intro- 
duction in  Act  I.  Sc.  iv.  of  the  representatives  of  the  four 


Preface  CYMBELINE 

nationalities,*  but  it  is  not  at  all  unlikely  that  Shake- 
speare was  also  acquainted  with  Boccaccio's  narrative.  A 
curious  English  version  appeared  in  a  tract  entitled 
"  IVcstzvard  for  Smelts,"  which  was  pubHshed  in  1620; 
its  chief  interest  lies  perhaps  in  the  fact  that  the  story  is 
there  associated  with  English  history,  and  referred  to  the 
times  of  Edward  IV.  f 

III.  Imogen  and  Snow-white.  Certain  elements  of 
the  plot  have  still  to  be  accounted  for: — e.g.  (i.)  the  story 
of  the  wicked  step-dame,  with  her  subtle  interest  in  the 
poisonous  properties  of  herbs:  (ii.)  the  stealing  of  the 
princes,  and  their  free  life  in  the  wilds  and  in  their  cave- 
home :  (iii.)  Fidele's  happy  life  with  them  in  the  cave; 
its  sudden  end;  the  re-awakening  from  death.  These, 
and  other  points,  serve  to  knit  together  the  two  main 
threads  of  the  plot,  but  they  are  nowhere  to  be  found  in 
Holinshed,  nor  in  Boccaccio,  nor  in  the  many  variants  of 
the  "  wager-story."  The  bare  enumeration  of  the  three 
elements  must,  I  think,  serve  to  establish  Shakespeare's 
obligation  to  another  source, — to  a  folk-story  still  amon 
the  most  popular  of  all  nursery  tales, — the  story  of  ''  Lit 
tie  Snow-white."  The  fairy  tale  as  known  to  modern 
English  children  has  come  to  them  from  Germany,  but 
there  can  be  little  doubt  that  an  English  ''  Snow-white  " 
^was  known  to  Shakespeare  in  his  own  youth,  and  was 
'perhaps  even  dearer  to  him  than  the  stories  of  "  Childe 
Rowland  "  and  "  Mr.  Fox  "  (vide  King  Lear,  III.  iv.  188, 
and  Much  Ado  About  Nothing,  I.  i.  216-218).  These 
latter  fairy  tales  are  happily  still  preserved  among  the 

*  It  is  interesting  to  note  that  not  only  was  the  story  of  "  The 
Four  Merchants"  well  known  in  Denmark  in  the  XVIth  century, 
but  during  the  same  century  Iceland  had  ballads  and  rhymes  on 
the  same  theme;  the  writer  possesses  transcripts  of  several  such 
versions. 

t  Malone  alludes  to  an  edition  of  1603 ;  but  he  probably  made 
a  mistake;  the  book  may  have  existed  in  manuscript  years  before 
its  publication. 

6 


& 


CYMBELINE  Preface 

treasures  of  ''  English  Fairy  Tales  "  :  some  day  perhaps 
Shakespeare's  ''  Snow-white  "  may  be  added ;  one  would, 
however,  be  much  surprised  if  it  differed  strikingly  from 
the  tale  so  dear  to  us  from  infancy. 

In  the  tale  as  in  the  play  we  have  (i.)  a  weak  king  sur- 
rendering his  child  to  the  tender  mercies  of  a  cruel  step- 
mother, who,  to  quote  from  the  popular  version,  ''  was 
a  beautiful  woman,  but  proud  and  haughty";  (ii.)  the 
cottage  of  the  dwarfs  which  gives  Snow-white  shelter  is 
described  in  the  best  and  truest  versions  as  a  cave  in  the 
forest;  (iii.)  Snow-white,  hungry  and  thirsty,  enters  the 
cave  uninvited,  and  is  found  by  the  kindly  dwarfs,  much 
in  the  same  way  as  Fidele  by  Belarius,  Guiderius  and  Ar- 
viragus.  "  Oh,  heavens  !  oh,  heavens  !  "  cried  the  dwarfs, 
'Svhat  a  lovely  child!"  'By  Jupiter  an  Angel!'  quoth 
Belarius, 

'  or  if  not. 
An  earthly  paragon! '     .     .    . 

(iv.)  The  dwarfs  said,  "If  you  will  take  care  of  our  house, 
cook,  and  make  the  beds,  wash,  sew,  and  knit,  you  can 
stay  with  us  and  you  shall  want  for  nothing."  Even  so 
was  it  with  Fidele. 

'But  his  neat  cookery!  he  cut  our  roots 
In  characters, 

And  sauced  our  broths,  as  Juno  had  been  sick 
And  he  her  dieter.'     .     .     . 

(v.)  "  Snow-white,"  the  story  tells  us,  "  kept  the  house  in 
order  for  them ;  in  the  mornings  they  went  to  the  moun- 
tains and  looked  for  copper  and  gold,  in  the  evenings 
they  came  back,  and  then  their  supper  had  to  be  ready. 
The  girl  was  alone  the  whole  day,  so  the  good  dwarfs 
warned  her  and  said,  '  Beware  of  your  stepmother,  she 
will  soon  know  that  you  are  here ;  be  sure  to  let  no  one 
come  in.'  "...  The  situation  is  practically  iden- 
tical in  the  play,  save  that  Imogen's  wicked  stepmother 
need  not  visit  her,  for  she  works  her  evil  power  by  means 
of  the  poisoned  cordial.     Both  in  the  play  and  in  the  tale 


Preface  *      CYMBELINE 

the  poison  sends  the  victim  into  a  death-Uke  trance,  (vi) 
The  simple  narrative  of  the  nursery  story  is  perhaps  the 
best  commentary  on  the  sweetest  scene  of  the  play,  the 
finding  of  Fidele  dead — '  the  bird  is  dead  that  we  have 
made  so  much  on' — and  the  burial,  the  sorrow  of  the 
princes,  and  their  dirge.  "  Snow-white  was  dead,  and 
remained  dead.  The  dwarfs  laid  her  upon  a  bier,  and 
all  seven  of  them  sat  round  it  and  wept  for  her,  and  wept 
three  days  long.  Then  they  were  going  to  bury  her,  but 
she  still  looked  as  if  she  were  living,  and  still  had  her 
pretty  red  cheeks.  They  said  '  zve  cannot  bury  her  in  the 
dark  ground'  and  they  had  a  transparent  coffin  of  glass 
made.  They  put  the  coffin  out  upon  the  mountains,  and 
one  of  them  always  stayed  by  it  and  watched  it.  And 
birds  came  too,  and  w^ept  for  Snow-white ;  first  an  owl, 
then  a  raven,  and  last  a  dove."  Beneath  all  the  complex- 
ity of  plot  created  by  Shakespeare,  this  original  can  still 
clearly  be  detected ;  in  the  olay  the  homely  room,  '  the 
ruddock,'  does  service  for  the  owl,  the  raven,  and  the  dove 
of  the  story.  The  parallels  might  easily  be  r.mltiplied. 
These  will  perhaps  suffice  to  show  that  Imogen,  '  the 
siveetcst,  fairest  lily'  and  ii^idele,  '  that  sweet  rosy  lad/ 
owed  something  of  their  beauty  to  the  child  "  white  as 
snow,  as  red  as  blood,  and  with  hair  as  black  as  ebony." 
'*  Imogen  "  is  in  very  deed  "  Snow-white,"  the  best  be- 
loved of  childhood's  heroines,  transfigured  as  manhood's 
ideal  of  all  womanly  perfection. 

**^m^  thvt  lilie  jFruit,  mp  ^otil, 
cm  tl)c  Cm  mt." 


Coin  of  Cymbeline  (the  Cunobelinus  of  early  British  history). 

8 


CYMBELINE 


Critical  Comments. 
I. 

Argument. 

I,  The  displeasure  of  Cymbeline,  King  of  Britain,  is 
aroused  against  Posthumus,  a  gentleman  who  has  pre- 
sumed to  wed  the  King's  daughter,  Imogen,  and  Pos- 
thumus is  sent  into  exile.  Arriving  in  Rome,  he  en- 
counters an  evil-minded  Italian  named  lachimo,  who 
casts  aspersions  on  the  chastity  of  all  women,  and  offers 
to  wager  that  he  will  work  the  dishonour  of  Imogen. 
Posthumus  has  such  confidence  in  his  wife's  integrity 
that  he  consents  to  the  trial.  lachimo  proceeds  to  the 
British  court  and,  not  succeeding  in  his  open  overtures 
with  Imogen,  has  recourse  to  stealth. 

II,  He  gains  admittance  to  her  bedchamber  by  hav- 
ing himself  carried  there  in  a  trunk.  While  she  sleeps 
he  takes  off  a  bracelet  from  her  arm  and  obtains  a 
mental  description  of  her  room  and  person.       Armed 

/with  this  circumstantial  evidence,  he  returns  to  Pos- 
thumus and  is  enabled  thereby  to  convince  him  of 
Imogen's  guilt. 

III,  The  misguided  husband  sends  an  order  to  his 
faithful  servant  Pisanio  to  put  Imogen  to  death;  which 
order  is  disregarded  by  Pisanio,  who  instead  induces 
Imogen  to  disguise  herself  in  male  attire  and  go  in 
search  of  Posthumus.  By  this  flight  she  is  likewise 
enabled  to  escape  the  malice  of  the  Queen,  her  step- 
mother, and  the  disagreeable  attentions  of  the  Queen's 
son,  Cloten.  While  traversing  the  mountainous  country 
of  Wales,  Imogen  by  chance  pauses  faint  and  hungry 

9 


Comments  CYMBELINE 

before  a  cave  wherein  dwells  Belarius,  a  banished  noble- 
man, disguised  as  a  peasant,  who,  in  revenge  for  his 
unjust  banishment,  had  abducted  the  king's  two  sons 
some  twenty  years  before.  The  princes,  now  fully  grown, 
though  ignorant  of  their  descent  and  also  of  the  identity 
of  the  stranger,  are  strongly  attracted  to  Imogen  by  the 
subtle  tie  of  blood,  and  entertain  her  hospitably. 

IV.  Cloten  arrives  before  the  cave  in  pursuit  of 
Imogen,  and  is  slain  in  a  duel  by  one  of  the  princes. 
His  headless  body  is  left  lightly  covered  with  leaves  and 
flowers.  Imogen,  having  on  her  person  a  poison  pre- 
pared by  the  Queen,  swallows  it  under  the  beHef  that  it 
is  a  soothing  cordial,  and  immediately  falls  into  a  deep 
sleep  resembling  death.  The  heart-broken  princes  lay 
her  body  beside  that  of  Cloten.  Shortly  after  she 
awakes  from  her  stupor  and  mistakes  the  headless  body 
for  that  of  her  lost  lord  Posthumus.  In  her  despair  she 
seeks  service  as  page  with  a  Roman  general  who  is  just 
then  invading  Britain. 

V.  With  the  Roman  army  come  lachimo  and  Pos- 
thumus. A  battle  is  fought  against  the  forces  of  Cym- 
beline.  Posthumus  in  the  garb  of  a  peasant  fights  val- 
orously  for  Britain.  Belarius  and  the  two  princes  also 
render  signal  service  to  Cymbeline,  aiding  him  to  rout 
the  Romans.  The  service  paves  the  way  for  a  reconcili- 
ation between  Belarius  and  the  king,  in  which  the  former 
reveals  the  identity  of  the  two  long-lost  princes. 

Among  the  prisoners  taken  are  lachimo  and  Imogen, 
the  supposed  page.  The  Italian  makes  confession  of 
his  villainy,  and  Imogen  is  restored  to  Posthumus, 
whom  the  king  receives  again  into  favour.  The  mali- 
cious Queen  dies  in  despair  at  the  frustration  of  her 
designs. 

McSpadden  :  Shakespearian  Synopses, 


10 


CYMBELINE  Comments 

II. 
Imogen. 

Imogen,  like  Juliet,  conveys  to  our  mind  the  impres- 
sion of  extreme  simplicity  in  the  midst  of  the  most 
wonderful  complexity.  To  conceive  her  aright,  we  must 
take  some  peculiar  tint  from  many  characters,  and  so 
mingle  them  that,  like  the  combination  of  hues  in  a 
sunbeam,  the  effect  shall  be  as  one  to  the  eye.  We 
must  imagine  something  of  the  romantic  enthusiasm  of 
JuHet,  of  the  truth  and  constancy  of  Helen,  o£  the  dig- 
nified purity  of  Isabel,  of  the  tender  sweetness  of  Viola, 
of  the  self-possession  and  intellect  of  Portia — combined 
together  so  equally  and  so  harmoniously  that  we  can 
scarcely  say  that  one  quality  predominates  over  the 
other.  But  Imogen  is  less  imaginative  than  Juliet,  less 
spirited  and  intellectual  than  Portia,  less  serious  than 
Helen  and  Isabel;  her  dignity  is  not  so  imposing  as  that 
of  Hermione — it  stands  more  on  the  defensive;  her  sub- 
mission, though  unbounded,  is  not  so  passive  as  that  of 
Desdemona;  and  thus,  while  she  resembles  each  of  these 
characters  individuallv,  she  stands  wholly  distinct  from 
all. 

It  is  true  that  the  conjugal  tenderness  of  Imogen  is  at 
once  the  chief  subject  of  the  drama  and  the  pervading 
charm  of  her  character;  but  it  is  not  true,  I  think,  that 
she  is  merely  interesting  from  her  tenderness  and  con- 
stancy to  her  husband.  We  are  so  completely  let  into 
the  essence  cf  Imogen's  nature  that  w^e  feel  as  if  we  had 
known  and  loved  her  before  she  was  married  to  Posthu- 
mus,  and  that  her  conjuo^al  virtues  are  a  charm  super- 
added, like  the  colour  laid  upon  a  beautiful  ground-? 
work.  Neither  does  it  appear  to  me  that  Posthumus 
is  unworthy  of  Imogen,  or  only  interesting  on  Imogen's 
account.  His  character,  like  those  of  all  the  other 
persons  of  the  drama,  is  kept  subordinate  to  hers;  but 
this  could  not  be  otherwise,  for  she  is  the  proper  sub- 

II 


Comments  CYMBELINE 

ject — the  heroine  of  the  poem.  Everything  is  done  to 
ennoble  Posthumus  and  justify  her  love  for  him;  and 
though  we  certainly  approve  him  more  for  her  sake 
than  for  his  own,  we  are  early  prepared  to  view  him 
with  Imogen's  eyes,  and  not  only  excuse,  but  sympathize 
in  her  admiration.     .     .     . 

One  thing  more  must  be  particularly  remarked,  be- 
cause it  serves  to  individualize  the  character  from  the 
beginning  to  the  end  of  the  poem.  We  are  constantly 
sensible  that  Imogen,  besides  being  a  tender  and  de- 
voted woman,  is  a  princess  and  a  beauty,  at  the  same 
time  that  she  is  ever  superior  to  her  position  and  her 
external  charms.  There  is,  for  instance,  a  certain  airy 
majesty  of  deportment — a  spirit  of  accustomed  com- 
mand breaking  out  every  now  and  then — the  dignity, 
vvithout  the  assumption,  of  rank  and  royal  birth,  which 
is  apparent  in  the  scene  with  Cloten  and  elsewhere ;  and 
we  have  not  only  a  general  impression  that  Imogen, 
like  other  heroines,  is  beautiful,  but  the  pecuHar  style 
and  character  of  her  beauty  are  placed  before  us.  We 
have  an  image  of  the  most  luxuriant  loveliness,  com- 
bined with  exceeding  delicacy,  and  even  fragility  of  per- 
son ;  of  the  most  refined  elegance  and  the  most  exquisite 
modesty. 

Mrs.  Jameson  :  Characteristics  of  Women, 

III. 

The  Antecedents  of  Imogen. 

As  in  Cleopatra  and  Cressida  we  had  woman  deter- 
mined solely  by  her  sex,  so  in  Imogen  we  have  an  em- 
bodiment of  the  highest  possible  characteristics  of 
womanhood — untainted  health  of  soul,  unshaken  forti- 
tude, constancy  that  withstands  all  trials,  inexhaustible 
forbearance,  unclouded  intelligence,  love  that  never 
wavers,  and  unquenchable  radiance  of  spirit.  She,  like 
Marina,  is  cast  into  the  snake-pit  of  the  world.     She  is 

12 


CYMBELINE  Comments 

slandered,  and  not,  like  Desdemona,  at  second  or  third 
hand,  but  by  the  very  man  who  boasts  of  her  favours 
and  supports  his  boast  with  seemingly  incontrovertible 
proofs.  Like  Cordelia,  she  is  misjudged;  but  whereas 
Cordelia  is  merely  driven  from  her  father's  presence 
along  with  the  man  of  her  choice,  Imogen  is  doomed 
to  death  by  her  cruelly-deceived  husband,  whom  alone 
she  adores;  and  through  it  all  she  preserves  her  love 
for  him  unweakened  and  unchanged. 

Strange — very  strange!  In  Imogen  we  find  the  full- 
est, deepest  love  that  Shakespeare  has  ever  placed  in  a 
woman's  breast,  and  that  although  Cymbcline  follows 
close  upon  plays  which  were  filled  to  the  brim  with  con- 
tempt for  womankind.  He  believed,  then,  in  such  love, 
so  impassioned,  so  immovable,  so  humble — believed  in 
it  now?  He  had,  then,  observed  or  encountered  such  a 
love — encountered  it  at  this  point  of  his  life? 

Even  a  poet  has  scant  enough  opportunities  of  ob- 
serving love.  Love  is  a  rare  thing,  much  rarer  than  the 
world  pretends,  and  when  ".  exists,  it  is  apt  to  be  sparing 
of  words.  Did  he  simply  fall  back  on  his  own  expe- 
riences, his  own  inward  sensations,  his  knowledge  of  his 
own  heart,  and,  transposing  his  feelings  from  the  major 
to  the  minor  key,  place  them  on  a  woman's  lips?  Or 
did  he  love  at  this  moment,  and  was  he  himself  thus 
beloved  at  the  end  of  the  fifth  decade  of  his  life?  The 
probability  is,  doubtless,  that  he  wrote  from  some  quite 
fresh  experience,  though  it  does  not  follow  that  the  ex- 
perience was  actually  his  own.  It  is  not  often  that 
women  love  men  of  his  mental  habit  and  stature  with 
such  intensity  of  passion.  The  rule  will  always  be  that 
a  Moliere  shall  find  himself  cast  aside  for  some  Comte 
de  Guiche,  a  Shakespeare  for  some  Earl  of  Pembroke. 
Thus  we  cannot  w-ith  any  certainty  conclude  that  he 
himself  was  the  object  of  the  passion  which  had  revived 
his  faith  in  a  woman's  power  of  complete  and  uncon- 
ditional absorption  in  love  for  one  man,  and  for  him 
alone.     In  the  first  place,  had  the  experience  been  his 

13 


Comments  CYMBELINE 

own,  he  would  scarcely  have  left  London  so  soon.  Yet 
the  probability  is  that  he  must  just  about  this  time  have 
gained  some  clear  and  personal  insight  into  an  ideal 
love.  In  the  public  sphere,  too,  it  is  not  unlikely  that 
Arabella  Stuart's  undaunted  passion  for  Lord  William 
Seymour,  so  cruelly  punished  by  King  James,  may  have 
afforded  the  model  for  Imogen's  devotion  to  Posthumus 
in  defiance  of  the  wall  of  King  Cymbeline. 

Brandes  :  William  Shakespeare. 

iv: 

Posthumus. 

The  design  of  the  play  evidently  required  that  Posthu- 
mus should  be  kept  in  the  background.  For  he  could 
not  be  in  the  foreground  without  staying  beside  Imogen; 
staying  there,  he  could  not  be  cheated  out  of  his  faith  in 
her;  in  which  case  there  would  be  no  chance  for  the 
trial  and  proof  of  her  constancy.  Hence  the  necessity 
of  putting  so  much  respecting  him  into  the  mouths  of 
the  other  persons;  and  certainly  their  tongues  are  rich 
enough  in  praise  of  him.  It  was  no  easy  thing  to  carry 
him  through  the  part  assigned  him  in  the  play,  without 
disqualifying  overmuch  the  lady's  judgement  in  choos- 
ing him;  and  the  Poet  manifestly  labours  somewhat  to 
plant  such  second-hand  impressions  of  him  as  may  se- 
cure the  vindication  of  her  choice  in  our  thoughts.  For 
he  clearly  meant  that  her  wisdom  and  insight,  as  ap- 
proved in  other  things,  should  serve  to  us  as  a  pledge 
and  guaranty  of  his  worth ;  that  "  by  her  election  should 
be  truly  read  what  kind  of  man  he  is."  And  not  the 
least  of  his  merits  as  an  artist  is  the  skill  he  has  in 
making  his  characters  so  utter  themselves  as  at  the 
same  time  to  mirror  one  another.  And  so  here,  being 
forced  either  to  withdraw  Posthumus  from  our  imme- 
diate view,  or  else  to  set  him  before  us  in  a  somewhat 


CYMBELINE  Comments 

unfavourable  light,  the  best  thing  he  could  do,  was  to  give 
us  a  reflection  of  him  from  Imogen;  and  if  that  reflec- 
tion, confirmed  as  it  is  by  others,  be  not  enough,  there 
was  no  help  for  it;  it  was  the  best  that  the  nature  of  the 
case  admitted  of.  And  surely  it  were  something  bold  in 
any  man  to  wage  his  own  judgement  in  a  matter  of  this 
kind  against  such  a  woman's  as  Imogen;  for,  as  Camp- 
bell says,  "  she  hallows  to  the  imagination  every  thing 
that  loves  her,  and  that  she  loves  in  return." 

Still  we  can  hardly  keep  quit  of  the  suspicion,  that  his 
high  credit  with  her  and  others  is  partly  owing  to  the 
presence  of  such  a  foil  as  Cloten,  in  comparison  with 
whom  he  is  an  angel  of  a  man  indeed.  And  at  all  events 
one  cannot  choose  but  wish  that  the  Poet  had  made 
him  hold  out  a  little  more  firmly  against  the  forged  or 
stolen  evidences  of  his  wife's  infidelity,  and  keep  his 
faith  at  least  till  the  last  and  strongest  item  was  pro- 
duced. It  is  observable,  that  the  Poet  represents  his 
very  fulness  of  confidence  at  first  as  rendering  him  all 
the  more  liable  to  the  reverse  in  the  contingency  that 
is  to  arrive :  because  he  is  perfectly  sure  that  no  proofs 
of  success  can  be  shown  by  lachimo,  therefore,  when 
some  such  proofs  are  shown,  he  falls  the  more  readily 
into  the  opposite  state.  And  this,  undoubtedly,  is  in  the 
right  line  of  nature.  For  to  shake  the  confidence  of 
such  a  man  in  such  a  case  is  to  invert  it  all  into  distrust 
at  once.  The  character  of  Posthumus  is  crowned  with 
a  liberal  measure  of  redemption  in  the  latter  part  of  the 
play.  After  his  revenge,  as  he  believes,  has  been  taken, 
his  exceeding  bitterness  of  remorse  and  penitence  turn 
our  revenge  into  pity;  for  his  experience  presses  home 
to  our  hearts  as  well  as  his  own,  that,  "  though  those 
who  are  betray'd  do  feel  the  treason  sharply,  yet  the 
traitor  stands  in  worse  case  of  woe";  and  his  perse- 
vering quest  of  death  finally  repeals  the  feeling  which 
we  should  otherwise  be  apt  to  have,  that  death  were 
none  too  bad  for  him. 

Hudson  :   The  Works  of  Shakespeare. 

15 


Comments  CYMBELINE 

V. 

Cloten. 

Life  at  court  is  beset  with  treacherous  quicksands. 
The  king  is  stupid,  passionate,  perpetually  misguided; 
the  queen  is  a  wily  murderess;  and  between  them  stands 
her  son,  Cloten,  one  of  Shakespeare's  most  original 
figures,  a  true  creation  of  genius,  without  a  rival  in  all 
the  Poet's  long  gallery  of  fools  and  dullards.  His 
stupid  inefficiency  and  undisguised  malignity  have 
nothing  in  common  with  his  mother's  hypocritical  and 
supple  craft;  he  takes  after  her  in  worthlessness  alone. 

For  the  sake  of  an  inartistic  stage  effect,  Shakespeare 
has  endowed  him  with  a  bodily  frame  indistinguishable 
from  that  of  the  handsome  Posthumus,  leaving  it  to  his 
head  alone  to  express  the  world-wide  difference  between 
them.  But  how  admirably  has  the  Poet  characterised 
the  dolt  and  boor  by  making  him  shoot  forth  his  words 
with  an  explosive  stammer!  With  profound  humour 
and  delicate  observation,  he  has  endowed  him  with  the 
loftiest  notions  of  his  own  dignity,  and  given  him  no 
shadow  of  doubt  as  to  his  rights.  There  are  no  bounds 
to  his  vanity,  his  coarseness,  his  bestiality.  If  words 
could  do  it,  not  a  word  of  his  but  would  wound  others 
to  the  quick.  And  not  only  his  words,  but  his  intents 
are  of  the  most  malignant;  he  would  outrage  Imogen  at 
Milford  Haven  and  ''  spurn  her  home "  to  her  father. 
His  stupidity,  fortunately,  renders  him  less  dangerous, 
and  with  delicate  art  Shakespeare  has  managed  to  make 
him  from  first  to  last  produce  a  comic  effect,  thereby 
softening  the  painful  impression  of  the  portraiture.  We 
take  pleasure  in  him  as  in  Caliban,  whom  he  foreshad- 
ows, and  who  had  the  same  designs  upon  Miranda  as 
he  upon  Imogen.  We  might  even  describe  Caliban  as 
Cloten  developed  into  a  type,  a  symbol. 

Brandes  :  William  Shakespeare. 

i6 


CYMBELINE  Comments 

VI. 

The  Royal  Pair. 

The  Queen — whose  guilty  machinations  threaten  to 
be  the  ruin  of  Posthumus,  who  holds  the  reins  of  gov- 
ernment in  her  own  hands,  and  has  the  intention  of 
directing  the  fortunes  of  all,  in  accordance  with  her  own 
resolves — lives  to  see  all  her  plans  thwarted,  and  in  the 
end  herself  falls  a  victim  to  the  destructive  power  of  her 
own  wickedness.  Cymbeline,  the  husband,  father  and 
king — who  is  more  or  less  directly  afifected  by  the  com- 
plications in  the  lives  of  all  the  others,  hence  as  it 
were,  the  point  where  all  the  radii  of  the  wide  circle 
meet,  and  from  which  they  in  the  first  instance  proceed, 
and  upon  whom  everything  turns  although  he  himself 
appears  the  least  active — forms  the  quiescent  centre  of 
the  action,  and  in  his  undutiful  lassitude  and  passive- 
ness  regulates  the  fortunes  of  all,  but  is  ultimately 
obliged  to  take  all  their  fortunes  upon  himself.  The 
drama,  therefore,  very  justly  bears  his  name. 

Ulrici  :  Shakspeare's  Dramatic  Art. 

VII. 

lachimio  and  Pisanio. 

The  part  of  lachimo  illustrates,  though  not  on  a  very 
large  scale,  Shakespeare's  peculiar  science  and  learned 
dealing  in  the  moral  constitution  of  man.  At  our  first 
meeting  with  lachimo,  he  is  in  just  that  stage  of  moral 
sickness,  that  he  must  be  worse  before  he  can  be  better; 
and  in  his  sharp  practice  on  the  wager  his  disease 
reaches  the  extreme  point  wdiich,  even  because  it  is 
extreme,  starts  a  process  of  moral  revolution  within 
him;  setting  him  to  a  hard  diet  of  remorse  and  repent- 
ance, and  conducting  him  through  these  to  renovation 
and  health.     So  that  his  treachery  is  one  of  those  large 

17 


Comments  CYMBELINE 

overdoses  of  crime  which  sometimes  have  the  effect  of 
purging  off  men's  criminahty.  Such  is  the  cunning 
leechcraft  of  nature:  out  of  men's  vices  she  hatches 
scorpions  to  lash  and  sting  them  into  virtue. 

Those  who  think  poetry  dwells  more  in  the  palace 
than  the  cottage,  and  that  Shakespeare  is  apt  to  post- 
pone the  rights  of  untitled  manhood  in  favour  of  con- 
ventional aristocracy,  may  be  sent  to  school  to  Pisanio; 
who  is,  socially,  the  humblest  person  in  the  drama,  yet 
his  being  is  ''  all  compact "  of  essential  heroism.  His 
action  shows  not  one  self-regarding  thought  or  purpose; 
he  alone  seems  to  live  and  breathe  purely  for  others. 
And  what  shrewdness,  what  forecast,  what  fertility  of 
beneficence  there  is  in  him!  His  character  is  lifted  into 
the  highest  region  of  poetry  by  his  oblivion  of  self;  and 
even  those  whom  he  serves  derive  much  of  their  poetry 
from  his  self-forgetting,  incorruptible  loyalty  to  them. 
Hudson  :  The  Works  of  Shakespeare. 

VIII. 

Guiderius  and  Arviragus. 

The  two  Princes,  Guiderius  and  Arviragus,  both  edu- 
cated in  the  wilds,  form  a  noble  contrast  to  Miranda 
and  Perdita.  Shakspeare  is  fond  of  showing  the  su- 
periority of  the^mrturrJI  over  the  artificial.  Over  the  art 
which  enriches  nature,  he  somewhere  says,  there  is  a 
higher  art  created  by  nature  herself.  As  Miranda's  un- 
conscious and  unstudied  sweetness  is  more  pleasing 
than  those  charms  which  endeavour  to  captivate  us  by 
the  brilliant  embellishments  of  a  refined  cultivation,  so 
in  these  two  youths,  to  whom  the  chase  has  given  vigour 
and  hardihood,  but  who  are  ignorant  of  their  high 
destination,  and  have  been  brought  up  apart  from  human 
society,  we  are  equally  enchanted  by  a  naiye-heroism 
which  leads  them  to  anticipate  and  to  dream  of  deeds 
of  valour,  till  an  occasion  is  offered  which  they  are 

i8 


CYMBELINE  Comments 

irresistibly  compelled  to  embrace.  When  Imogen  comes 
in  disguise  to  their  cave;  when,  with  all  the  innocence 
of  childhood,  Guiderius  and  Arviragus  form  an  impas- 
sioned friendship  for  the  tender  boy,  in  whom  they 
neither  suspect  a  female  nor  their  own  sister;  when,  on 
their  return  from  the  chase,  they  find  her  dead,  then 
"  sing  her  to  the  ground,"  and  cover  the  grave  with 
flowers: — these  scenes  might  give  to  the  most  deadened 
imagination  a  new  life  for  poetry.  If  a  tragical  event  is 
only  apparent  in  such  case,  whether  the  spectators  are 
already  aware  of  it  or  ought  merely  to  suspect  it,  Shak- 
speare  always  knows  how  to  mitigate  the  impression 
without  weakening  it:  he  makes  the  mourning  musical, 
that  it  may  gain  in  solemnity  what  it  loses  in  serious- 
ness. 
ScHLEGEL :  Lectures  on  Dramatic  Art  and  Literature. 

IX. 

Elements  and  Construction. 

If  Cymbeline  is  deliberately  detached  from  history, 
his  queen  and  their  children  transport  us  into  manifest 
faerie.  The  evil  stepmother,  with  her  malign  beauty, 
culling  the  poison-flowers  "  while  yet  the  dew 's  on  the 
ground,"  is  a  witch  manquce,  a  Medea  not  quite  perfect 
in  her  part;  her  clownish  son  is  a  Caliban  made  slightly 
more  human  and  considerably  more  vulgar;  Imogen, 
with  all  her  added  wealth  of  mind  and  heart,  yet  clearly 
betrays  the  lineaments  of  the  peerless  princess  whom 
the  malign  stepmother  pursues  and  good  fairies  defend; 
while  the  whole  episode  of  her  life  in  the  cave  with  her 
unknown  brothers,  her  seeming  death  and  burial,  dif- 
fers from  the  Mdrchen  of  Schneewittchen  ("  Little  Snow- 
white")  only  as  the  poetry  which  moves  wholly  within 
the  human  sphere  and  is  wrought  out  in  dramatic  detail 
and  imaginative  phrase  differs  from  the  naive  poetry 
of  the   fairy   tale.     The   evil   stepmother   provides   her 

19 


Comments  CYMBELINE 

*' poison"  by  the  aid  of  a  physician;  the  kindly  dwarfs 
become  vahant  young  hunters,  and  Schneewittchen's 
crystal  coffin  becomes  a  woodland  bed  of  flowers  and 
moss  lightly  sprinkled  on  the  face  of  the  seeming  dead. 
It  can  hardly  be  denied  that  these  several  elements  of 
story  are  not  quite  faultlessly  wrought  together.  The 
complex  mechanism  of  the  plot  is  lubricated  by  a  free 
use  of  happy  coincidences  and  fortuities,  and  explained 
by  conversations  and  soliloquies  which  serve  merely  to 
explain  it.  It  is  even  possible  to  maintain  that  the  mot- 
ley contrast  of  the  interwoven  motives  has  here  and 
there  infected  the  characters; — that  Cloten,  more  par- 
ticularly, as  he  appears  in  the  council  of  war,  is  a  person 
of  more  distinction  than  the  clownish  wooer  of  Imogen 
and  butt  of  the  court  wits.  As  in  all  the  plays  of  this 
latest  group,  mechanical  coherence  of  plot  is  treated 
with  apparent  nonchalance,  even  character  is  displayed 
rather  in  detached  moments  than  with  that  subtle  power 
of  exhibiting  its  gradual  evolution  or  decay  which  con- 
tributes so  much  to  the  fascination  of  Hamlet  or  Othello 
or  Antony  and  Cleopatra;  but  these  moments  are  illu- 
minated with  a  dramatic  vision  so  intense  and  a  poetry 
so  poignantly  beautiful,  that  the  less  intrinsic  move- 
ments of  the  play  sink  into  a  subordination  of  effect  in 
which  their  incoherences  are  lost  sight  of.  In  the  sub- 
ject-matter with  which  they  deal  we  cannot  sharply 
divide  the  so-called  Romances  from  the  Tragedies ;  they 
all  deal  with  tragic  harms;  both  Cymheline  and  The 
Winter's  Tale  sound  several  chords  of  the  theme  of 
Othello.  But,  in  the  first  place,  the  tragic  action  is 
briefer  and  simpler,  less  desperate  in  its  outlook,  less 
harrowing  in  its  course;  and,  in  the  second,  there  open 
out  of  it  vistas  of  a  reposeful  and  heahng  seclusion  on 
the  one  side,  of  remorse  and  atonement  on  the  other, 
which  finally  converge  in  scenes  of  reconciliation  and 
forgiveness. 

Herford  :  The  Eversley  Shakespeare, 

20 


CYMBELINE  Comments 

The  play  is  not  merely  a  series  of  beautiful  pictures, 
or  interesting  episodes,  such  as  we  are  accustomed  to 
find  in  the  productions  of  dramatists  of  less  renown. 
Here,  as  elsewhere  in  Shakespeare,  everything  is  sub- 
servient to  the  development  of  character.  From  this 
point  of  view  every  scene  contributes  its  share  to  the 
denouement,  nor  is  there  any  falling  off  observable  in 
the  power  of  the  artist;  the  master-hand  is  as  discern- 
ible in  these  latest  creations  as  in  those  of  any  earHer 
period.  xA.nd  he  has  put  forth  all  his  strength  on  the 
central  figure  of  the  drama,  the  matchless  Imogen,  to 
speak  of  whom  is  to  sing  one  long  psean  of  praise,  and 
whose  very  name  is  as  full  of  music  as  her  voice.  In  her 
is  to  be  found  everything  that  makes  woman  lovable, 
and  there  is  no  situation  in  which  she, is  placed  which 
does  not  reveal  some  fresh  beauty  in  her  character. 
Evans  :  Henry  Irving  Shakespeare, 


In  Cymhclinc  we  may  note  what  has  presented  itself  in 
the  plays  of  admitted  inferiority,  a 'recurrence  of  hints 
of  motive  and  character  that  are  fully  worked  out  in 
more  perfect  pieces.  This  is  sometimes  an  anticipation, 
but  sometimes  a  memory;  and  possibly  the  appearance 
that  lachimo  is  a  first  idea  of  lago,  and  Posthumus  the 
crude  conception  of  the  passion  of  Othello,  as  Cymbeline 
of  the  weakness  and  tyranny  of  Lear,  may  be  but  falla- 
cious. Indeed,  the  thought  has  sometimes  occurred 
to  me,  that  Shakespeare  indulged  himself  designedly  in 
this  drama  in  playing  with  the  same  motives  in  less 
severe  combination,  and  in  falling  back  for  relief,  after 
the  tension  of  his  great  tragic  actions,  upon  the  milder 
harmonies  that  might  be  evoked  as  truly  from  the  self- 
same themes. 

Lloyd:  Critical  Essays  on  the  Plays  of  Shakespeare, 


21 


DRAMATIS   PERSONAE. 

Cymbeline,  king  of  Britain. 

Cloten,  son  to  the  Queen  by  a  former  husband. 

PoSTHUMus  Leonatus,  a  gentleman,  husband  to  Imogen. 

Belarius,  a  banisJied  lord,  disguised  under  the  name  of 

Morgan. 

GuiDERius,  ]  ^^^^^  ^^  Cymbeline,  disguised  under  the 
'  \  names  of  Polydore  and  Cadwal,  sup- 
Arviragus,  j  p^^^^  ^^,^^  ^^  Morgan. 

Philario,  friend  to  Posthumus,   ) 

lACHiMO,  friend  to  Philario,         J   ^^^^^^^^^ 

Caius  Lucius,  General  of  the  Roman  forces. 

PiSANio,  servant  to  Posthumus. 

Cornelius,  a  physician. 

A  Roman  Captain. 

Two  British  Captains. 

A  Frenchman,  friend  to  Philario. 

Two  Lords  of  Cymbeline's  Court. 

Two  Gentlemen  of  the  same. 

Two  Gaolers. 

Queen,  v/ife  to  Cymbeline. 

Imogen,  daughter  to  Cymbeline  by  a  former  queen. 

Helen,  a  lady  attending  on  Imogen. 

Lords,  Ladies,  Roman  Senators,  Tribunes,  a  Soothsayer,  a  Dutch- 
man, a  Spaniard,  Musicians,  Officers,  Captains,  Soldiers, 
Messengers,  and  other  Attendants. 

Apparitions. 

Scene:    Britain:  Rome. 


22 


CYMBELINE. 

ACT   FIRST. 

Scene  I. 

Britain.     The  garden  of  CymheUne's  palace. 
Enter  tzvo  Gentlemen. 

First  Gent.  You  do  not  meet  a  man  but  frowns :    our 
bloods 
No  more  obey  the  heavens  than  our  courtiers 
Still  seem  as  does  the  king. 

Sec.  Gent.  But  what 's  the  matter? 

First  Gent.  His   daughter,   and   the   heir   of 's   kingdom, 
whom 
He  purposed  to  his  wife's  sole  son — a  widow 
That  late  he  married — hath  referred  herself 
Unto  a  poor  but  worthy  gentleman  :   she  's  wedded  ; 
Her  husband  banish'd  ;   she  imprison'd  :   all 
Is  outward  sorrow  ;  though  I  think  the  king       • 
Be  touch'd  at  very  heart. 

Sec.  Gent.  None  but  the  king?  lo 

First  Gent.  He  that  hath  lost  her  too :   so  is  the  queen, 
That  most  desired  the  match :   but  not  a  courtier, 
Although  they  wear  their  faces  to  the  bent 
Of  the  king's  looks,  hath  a  heart  that  is  not 
Glad  at  the  thing  they  scowl  at. 

Sec.  Gent.  And  why  so? 

First  Gent.  He  that  hath  miss'd  the  princess  is  a  thing 
Too  bad  for  bad  report :   and  he  that  hath  her, 

23 


Act  I.  Sc.  i.  CYMBELINE 

I  mean,  that  married  her, — alack,  good  man ! — 

And  therefore  banish'd,  is  a  creature  such 

As,  to  seek  through  the  regions  of  the  earth  20 

For  one  his  hke,  there  would  be  something  failing 

In  him  that  should  compare.     I  do  not  think 

So  fair  an  outward  and  such  stuff  within 

Endows  a  man  but  he. 

Sec.  Gent.  You  speak  him  far. 

First  Gent.  I  do  extend  him,  sir,  within  himself, 
Crush  him  together  rather  than  unfold 
His  measure  duly. 

Sec.  Gent.  What 's  his  name  and  birth? 

First  Gent.  I  cannot  delve  him  to  the  root :  his  father 
Was  caird  Sicilius,  who  did  join  his  honour 
Against  the  Romans  with  Cassibelan,  30 

But  had  his  titles  by  Tenantius,  whom 
He  served  with  glory  and  admired  success, 
So  gain'd  the  sur-addition  Leonatus  : 
And  had,  besides  this  gentleman  in  question, 
Two  other  sons,  who  in  the  wars  o'  the  time 
Died  with  their  swords  in  hand ;    for  which  their 

father. 
Then  old  and  fond  of  issue,  took  such  sorrow 
That  he  quit  being,  and  his  gentle  lady, 
Big  of  this  gentleman,  our  theme,  deceased 
As  he  was  born.     The  king  he  takes  the  babe  40 

To  his  protection,  calls  him  Posthumus  Leonatus, 
Breeds  him  and  makes  him  of  his  bed-chamber : 
Puts  to  him  all  the  learnings  that  his  time 
Could  make  him  the  receiver  of ;   which  he  took. 
As  we  do  air,  fast  as  'twas  minister'd, 
And,  in  's  spring  became  a  harvest :   lived  in  court — 

24 


CYMBELINE  Act  I.  Sc.  i. 

Which  rare  it  is  to  do — most  praised,  most  loved : 
A  sample  to  the  youngest,  to  the  more  mature 
A  glass  that  feated  them,  and  to  the  graver 
A  child  that  guided  dotards  ;   to  his  mistress,  50 

For  whom  he  now  is  banish'd,  her  own  price 
Proclaims  how  she  esteem'd  him  and  his  virtue ; 
By  her  election  may  be  truly  read 
What  kind  of  man  he  is. 

Sec.  Gent.  I  honour  him 

Even  out  of  your  report.     But,  pray  you,  tell  me, 
Is  she  sole  child  to  the  king? 

First  Gent.  His  only  child. 

He  had  two  sons,— if  this  be  worth  your  hearmg, 
Mark  it,— the  eldest  of  them  at  three  years  old, 
r  the  swathing  clothes  the  other,  from  their  nursery 
Were  stolen,  and  to  this  hour  no  guess  in  knowledge 
Which  way  they  went. 

Sec.  Gent.  How  long  is  this  ago  ?  61 

First  Gent.  Some  twenty  years. 

Sec.  Gent.  That  a  king's  children  should  be  so  convey'd! 
'  So  slackly  guarded !   and  the  search  so  slow, 
That  could  not  trace  them ! 

First  Gent.  Howsoe'er  'tis  strange, 

Or  that  the  negligence  may  well  be  laugh'd  at, 
Yet  is  it  true,  sir. 

Sec.  Gent.  I  <^o  well  believe  you. 

First  Gent.  We  must  forbear :  here  comes  the  gentleman. 
The  queen  and  princess.  [Exeunt. 

Enter  the  Queen,  Posthumiis  and  Imogen. 

Queen.  No,  be  assured  you  shall  not  find  me,  daughter,  70 
After  the  slander  of  most  stepmothers, 
25 


Act  I.  Sc.  i.  CYMBELINE 

Evil-eyed  unto  you :   you  're  my  prisoner,  but 
Your  gaoler  shall  deliver  you  the  keys 
That  lock  up  your  restraint.     For  you,  Posthumus, 
So  soon  as  I  can  win  the  offended  king, 
I  will  be  known  your  advocate :   marry,  yet 
The  fire  of  rage  is  in  him,  and  'twere  good 
You  lean'd  unto  his  sentence  with  what  patience 
Your  wisdom  may  inform  you. 

Post.  Please  your  highness, 

I  will  from  hence  to-day. 

Queen.  You  know  the  peril.         80 

I  '11  fetch  a  turn  about  the  garden,  pitying 
The  pangs  of  barr'd  affections,  though  the  king 
Hath  charged  you  should  not  speak  together.  [Exit. 

Into.  O 

Dissembling  courtesy!     How  fine  this  tyrant 
Can  tickle  where  she  wounds !     My  dearest  husband, 
I  something  fear  my  father's  wrath ;   but  nothing — 
Always  reserved  my  holy  duty — what 
His  rage  can  do  on  me :   you  must  be  gone, 
And  I  shall  here  abide  the  hourly  shot 
Of  angry  eyes,  not  comforted  to  live,  90 

But  that  there  is  this  jewel  in  the  world 
That  I  may  see  again. 

Post.  My  queen  !   my  mistress  ! 

O  lady,  weep  no  more,  lest  I  give  cause 
To  be  suspected  of  more  tenderness 
Than  doth  become  a  man !   I  will  remain 
The  loyal'st  husband  that  did  e'er  plight  troth : 
My  residence  in  Rome  at  one  Philario's, 
Who  to  my  father  was  a  friend,  to  me 
Known  but  by  letter :  thither  write,  my  queen, 

26 


CYMBELINE  Act  I.  Sc.  i. 

And  with  mine  eyes  I  '11  drink  the  words  you  send, 
Though  ink  be  made  of  gall. 

Re-enter  Queen, 

Queen.  Be  brief,  I  pray  you  :     loi 

If  the  king  come,  I  shall  incur  I  know  not 
How   much   of   his    displeasure.      [Aside^   Yet   I  '11 

move  him 
To  walk  this  way :   I  never  do  him  wrong 
But  he  does  buy  my  injuries,  to  be  friends  ; 
Pays  dear  for  my  offences.  [Exit. 

Post.  Should  we  be  taking  leave 

As  long  a  term  as  yet  we  have  to  live, 
The  loathness  to  depart  would  grow.    Adieu ! 

Imo.  Nay,  stay  a  little: 

Were  you  but  riding  forth  to  air  yourself,  no 

Such  parting  were  too  petty.    Look  here,  love  ; 
This  diamond  was  my  mother's  :  take  it,  heart ; 
But  keep  it  till  you  woo  another  wife, 
When  Imogen  is  dead. 

Post.  How,  how !   another  ? 

You  gentle  gods,  give  me  but  this  I  have. 
And  sear  up  my  embracements  from  a  next 
With  bonds  of  death!     [Putting  on  the  ring.']     Re- 
main, remain  thou  here 
While  sense  can  keep  it  on  !    And,  sweetest,  fairest, 
As  I  my  poor  self  did  exchange  for  you 
To  your  so  infinite  loss,  so  in  our  trifles  I20 

I  still  win  of  you  :  for  my  sake  wear  this ; 
It  is  a  manacle  of  love  ;  I  '11  place  it 
Upon  this  fairest  prisoner. 

[Putting  a  bracelet  on  her  arm. 

27 


Act  I.  Sc.  i.  CYMBELINE 

Imo.  O  the  gods ! 

When  shall  we  see  again  ? 

Enter  Cymheline  and  Lords. 

Post.  Alack,  the  king! 

Cym.  Thou  basest  thing,  avoid !  hence,  from  my  sight ! 

If  after  this  command  thou  fraught  the  court 

With  thy  unworthiness,  thou  diest :   away ! 

Thou  'rt  poison  to  my  blood. 
Post.  The  gods  protect  you, 

And  bless  the  good  remainders  of  the  court ! 

I  am  gone.  {Exit. 

Imo.  There  cannot  be  a  pinch  in  death  1 30 

More  sharp  than  this  is. 
Cym.  O  disloyal  thing, 

That  shouldst  repair  my  youth,  thou  heap'st 

A  year's  age  on  me ! 
Imo.  I  beseech  you,  sir. 

Harm  not  yourself  with  your  vexation : 

I  am  senseless  of  your  wrath ;  a  touch  more  rare 

Subdues  all  pangs,  all  fears. 
Cym,  Past  grace?  obedience? 

Imo,  Past  hope,  and  in  despair ;  that  way,  past  grace. 
Cym.  That  mightst  have  had  the  sole  son  of  my  queen ! 
Imo.  O  blessed,  that  I  might  not !    I  chose  an  eagle, 

And  did  avoid  a  puttock.  140 

Cym.  Thou  took'st  a  beggar;    wouldst  have  made  my 
throne 

A  seat  for  baseness. 
Imo.  No ;   I  rather  added 

A  lustre  to  it. 
Cym.  O  thou  vile  one ! 

28 


CYMBELINE  Act  I.  Sc.  i. 

Into.  Sir, 

It  is  your  fault  that  I  have  loved  Posthumus : 
You  bred  him  as  my  playfellow,  and  he  is 
A  man  worth  any  woman,  overbuys  me 
Almost  the  sum  he  pays. 

Cym.  What,  art  thou  mad ! 

Imo.  Almost,  sir :   heaven  restore  me !    Would  I  were 
A  neat-herd's  daughter,  and  my  Leonatus 
Our  neighbour-shepherd's  son ! 

Cym.  Thou  fooHsh  thing !     150 

Re-enter  Queen. 

They  were  again  together :  you  have  done 
Not  after  our  command.    Away  with  her, 
And  pen  her  up. 

Queen.  Beseech  your  Patience.     Peace, 

Dear  lady  daughter,  peace !    Sweet  sovereign. 
Leave  us  to  ourselves,  and  make  yourself  some  com- 
fort 
Out  of  your  best  advice. 

Cym.  Nay,  let  her  languish 

A  drop  of  blood  a  day  ;  and,  being  aged, 
Die  of  this  folly !  [Exeunt  Cynibeline  and  Lords. 

Queen.  Fie !   you  must  give  way. 

Enter  Pisanio. 

Here  is  your  servant.     How  now,  sir !     What  news  ? 
Pis.  My  lord  your  son  drew  on  my  master. 
Queen.  Ha!  160 

No  harm,  I  trust,  is  done? 
Pis.  There  might  have  been, 

But  that  my  master  rather  play'd  than  fought, 

And  had  no  help  of  anger :  they  were  parted 
29 


Act  I.  Sc.  ii.  CYMBELINE 

By  gentlemen  at  hand. 
Queen.  I  am  very  glad  on  't. 

Jmo.  Your  son  's  my  father's  friend ;   he  takes  his  part. 

To  draw  upon  an  exile  !    O  brave  sir  ! 

I  would  they  were  in  Af  ric  both  together ; 

Myself  by  with  a  needle,  that  I  might  prick 

The  goer-back.    Why  came  you  from  your  master  ? 
Pis.  On  his  command :  he  would  not  suffer  me  170 

To  bring  him  to  the  haven  :   left  these  notes 

Of  what  commands  I  should  be  subject  to 

When  't  pleased  you  to  employ  me. 
Queen.  This  hath  been 

Your  faithful  servant :   I  dare  lay  mine  honour 

He  will  remain  so. 
Pis.  I  humbly  thank  your  highness. 

Queen.  Pray,  walk  awhile. 
Imo.  About  some  half-hour  hence, 

I  pray  you,  speak  with  me:   you  shall  at  least 

Go  see  my  lord  aboard :  for  this  time  leave  me. 

{ExeunU 

Scene  II. 

The  same.    A  public  place. 
Enter  Clot  en  and  two  Lords. 

First  Lord.  Sir,  I  would  advise  you  to  shift  a  shirt ; 
the  violence  of  action  hath  made  you  reek  as  a 
sacrifice ;  where  air  comes  out,  air  comes  in : 
there  's  none  abroad  so  wholesome  as  that  you 
vent. 

Clo.  If  my  shirt  were  bloody,  then  to  shift  it.  Have 
I  hurt  him  ? 

30 


CYMBELINE  Act  I.  Sc.  ii. 

Sec,  Lord.   [Aside]   No,  faith ;    not  so  much  as  his 

patience. 
First  Lord.  Hurt  him  !  his  body  's  a  passable  carcass,     lo 

if  he  be  not  hurt :   it  is  a  thoroughfare  for  steel, 

if  it  be  not  hurt. 
Sec,  Lord.    [Aside]  His  steel  was  in  debt;   it  went  o' 

the  backside  the  town. 
Clo,  The  villain  would  not  stand  me. 
Sec,  Lord.   [Aside]    No,   but  he   fled   forward   still, 

toward  your  face. 
First  Lord.  Stand  you !     You  have  land  enough  of 

your  own ;   but  he  added  to  your  having ;   gave 

you  some  ground.  20 

Sec.  Lord.    [Aside]    As   many   inches    as   you   have 

oceans.    Puppies ! 
Clo.  I  would  they  had  not  come  between  us. 
Sec.  Lord.    [Aside]  So  would  I,  till  you  had  measured 

how  long  a  fool  you  were  upon  the  ground. 
Clo.  And  that  she  should  love  this  fellow,  and  refuse 

me! 
Sec.  Lord.    [Aside]    If  it  be  a  sin  to  make  a  true 

election,  she  is  damned. 
First  Lord.  Sir,  as  I  told  you  always,  her  beauty  and 

her  brain  go  not  together :    she  's  a  good  sign,     30 

but  I  have  seen  small  reflection  of  her  wit. 
Sec.  Lord.    [Aside]    She  shines  not  upon  fools,  lest 

the  reflection  should  hurt  her. 
Clo.  Come,  I  '11  to  my  chamber.     Would  there  had 

been  some  hurt  done ! 
Sec.  Lord.   [Aside]  I  wish  not  so;  unless  it  had  been 

the  fall  of  an  ass,  which  is  no  great  hurt. 
Clo,  You  '11  go  with  us  ? 
First  Lord.  I  '11  attend  your  lordship. 

31 


Act  I.  Sc.  iii.  CYMBELINE 

Clo.  Nay,  come,  let 's  go  together.  40 

Sec.  Lord.  Well,  my  lord.  {Exeunt. 

Scene  III. 

A  room  in  Cymbelinc's  palace. 
Enter  Imogen  and  Pisanio. 

Imo.  I  would  thou  grew'st  unto  the  shores  o'  the  haven 
And  question'dst  every  sail :  if  he  should  write 
And  I  not  have  it,  'twere  a  paper  lost. 
As  offer'd  mercy  is.    What  was  the  last 
That  he  spake  to  thee  ? 

Pis.  It  was,  his  queen,  his  queen ! 

Imo.  Then  waved  his  handkerchief? 

Pis.  And  kiss'd  it,  madam. 

Imo.  Senseless  linen  !   happier  therein  than  I ! 
And  that  was  all  ? 

Pis.  No,  madam  ;  for  so  long 

As  he  could  make  me  with  this  eye  or  ear 
Distinguish  him  from  others,  he  did  keep  10 

The  deck,  with  glove,  or  hat,  or  handkerchief. 
Still  waving,  as  the  fits  and  stirs  of  's  mind 
Could  best  express  how  slow  his  soul  sail'd  on. 
How  swift  his  ship. 

Imo.  Thou  shouldst  have  made  him 

As  little  as  a  crow,  or  less,  ere  left 
To  after-eye  him. 

Pis.  Madam,  so  I  did. 

Imo.  I  would  have  broke  mine  eye-strings,  crack'd  them, 
but 
To  look  upon  him,  till  the  diminution 
Of  space  had  pointed  him  sharp  as  my  needle ; 
Nay,  follow'd  him,  till  he  had  melted  from  20 

32 


CYMBELINE  Act  I.  Sc.  iv. 

The  smallness  of  a  gnat  to  air ;  and  then 

Have  tiirn'd  mine  eye,  and  wept.    But,  good  Pisanio, 

When  shall  we  hear  from  him  ? 

Pis.  Be  assured,  madam, 

With  his  next  vantage. 

Imo.  I  did  not  take  my  leave  of  him,  but  had 

Most  pretty  things  to  say  :  ere  I  could  tell  him 

How  I  would  think  on  him  at  certain  hours, 

Such  thoughts  and  such  ;  or  I  could  make  him  swear 

The  shes  of  Italy  should  not  betray 

Mine  interest  and  his  honour;   or  have  charged  him. 

At  the  sixth  hour  of  morn,  at  noon,  at  midnight,      31 

To  encounter  me  with  orisons,  for  then 

I  am  in  heaven  for  him ;  or  ere  I  could 

Give  him  that  parting  kiss  which  I  had  set 

Betwixt  two  charming  words,  comes  in  my  father, 

And,  like  the  tyrannous  breathing  of  the  ^orth. 

Shakes  all  our  buds  from  growing. 

Enter  a  Lady. 

Lady.  The  queen,  madam, 

Desires  your  highness'  company. 
Imo.  Those  things  I  bid  you  do,  get  them  dispatch'd. 

I  will  attend  the  queen. 
Pis,  Madam,  I  shall.   [Exeunt.     4c 

Scene  IV, 

Rome.    P hilarious  house. 

Enter  Philario,  lachimo,  a  Frenchman,  a  Dutchman, 
and  a  Spaniard, 

lach.  Believe  it,  sir,  I  have  seen  him  in  Britain :   he 
was  then  of  a  crescent  note ;   expected  to  prove 

33 


Act  I.  Sc.  iv.  CYMBELINE 

so  worthy  as  since  he  hath  been  allowed  the  name 
of :  but  I  could  then  have  looked  on  him  without 
the  help  of  admiration,  though  the  catalogue  of 
his  endowments  had  been  tabled  by  his  side  and 
I  to  peruse  him  by  items. 

Phi.  You  speak  of  him  when  he  was  less  furnished 
than  now  he  is  with  that  which  makes  him  both 
without  and  within.  lo 

French.  I  have  seen  him  in  France:  we  had  very 
many  there  could  behold  the  sun  with  as  firm 
eyes  as  he. 

lach.  This  matter  of  marrying  his  king's  daughter, 
wherein  he  must  be  weighed  rather  by  her  value 
than  his  own,  words  him,  I  doubt  not,  a  great 
deal  from  the  matter. 

French.  And  then  his  banishment. 

lach.  Ay,  and  the  approbation  of  those  that  weep 

this  lamentable  divorce  under  her  colours  are  20 
wonderfully  to  extend  him ;  be  it  but  to  fortify 
her  judgement,  which  else  an  easy  battery  might 
lay  flat,  for  taking  a  beggar  without  less  quality. 
But  how  comes  it  he  is  to  sojourn  with  you? 
how  creeps  acquaintance  ? 

PhL  His  father  and  I  were  soldiers  together;  to 
whom  I  have  been  often  bound  for  no  less  than 
my  life.  Here  comes  the  Briton :  let  him  be  so 
entertained  amongst  you  as  suits,  with  gentlemen 
of  your  knowing,  to  a  stranger  of  his  quality.  30 

Enter  Posthumus. 

I  beseech  you  all,  be  better  known  to  this 
gentleman ;     whom    I    commend    to   you    as    a 

34 


CYMBELINE  Act  I.  Sc.  iv. 

noble  friend  of  mine:  how  worthy  he  is  I  will 
leave  to  appear  hereafter,  rather  than  story  him 
in  his  own  hearing. 

French.  Sir,  we  have  known  together  in  Orleans. 

Post.  Since  when  I  have  been  debtor  to  you  for 
courtesies,  which  I  will  be  ever  to  pay  and  yet 
pay  still. 

French.  Sir,  you  o'er-rate  my  poor  kindness :    I  was     40 
glad  I  did  atone  my  countryman  and  you  ;  it  had 
been  pity  you  should  have  been  put  together 
with  so  mortal  a  purpose  as  then  each  bore,  upon 
importance  of  so  slight  and  trivial  a  nature. 

Post.  By  your  pardon,  sir,  I  was  then  a  young 
traveller;  rather  shunned  to  go  even  with  what 
I  heard  than  in  my  every  action  to  be  guided  by 
others'  experiences :  but  upon  my  mended 
judgement — if  I  offend  not  to  say  it  is  mended — 
my  quarrel  was  not  altogether  slight.  50 

French.  Faith,  yes,  to  be  put  to  the  arbitrement  of 
swords,  and  by  such  two  that  would,  by  all  like- 
lihood, have  confounded  one  the  other,  or  have 
fallen  both. 

lach.  Can  we  with  manners  ask  what  was  the 
difference  ? 

French.  Safely,  I  think  :  'twas  a  contention  in  public, 
which  may  without  contradiction  suffer  the  re- 
port. It  was  much  like  an  argument  that  fell 
out  last  night,  where  each  of  us  fell  in  praise  of 
our  country  mistresses ;  this  gentleman  at  that  60 
time  vouching — and  upon  warrant  of  bloody 
affirmation — his  to  be  more  fair,  virtuous,  wise, 
chaste,  constant-qualified  and  less  attemptable 
than  any  the  rarest  of  our  ladies  in  France. 

35 


Act  I.  Sc.  iv.  CYMBELINE 

lach.  That  lady  is  not  now  living,  or  this  gentleman's 
opinion,  by  this,  worn  out. 

Post.  She  holds  her  virtue  still  and  I  my  mind. 

lach.  You  must  not  so  far  prefer  her  'fore  ours  of 
Italy. 

Post.  Being  so  far  provoked  as  I  was  in  France,  I     70 
would  abate  her  nothing,  though  I  profess  my- 
self her  adorer,  not  her  friend. 

lach.  As  fair  and  as  good — a  kind  of  hand-in-hand 
comparison — had  been  something  too  fair  and 
too  good  for  any  lady  in  Britany.  If  she  went 
before  others  I  have  seen,  as  that  diamond  of 
yours  outlustres  many  I  have  beheld,  I  could 
not  but  believe  she  excelled  many:  but  I  have 
not  seen  the  most  precious  diamond  that  is,  nor 
you  the  lady.  80 

Post.  I  praised  her  as  I  rated  her :  so  do  I  my  stone. 

lach.  What  do  you  esteem  it  at  ? 

Post.  More  than  the  world  enjoys. 

lach.  Either  your  unparagoned  mistress  is  dead,  or 
she  's  outprized  by  a  trifle. 

Post.  You  are  mistaken :  the  one  may  be  sold  or 
given,  if  there  were  wealth  enough  for  the 
purchase  or  merit  for  the  gift:  the  other  is 
not  a  thing  for  sale,  and  only  the  gift  of  the 
gods.  90 

lach.  Which  the  gods  have  given  you ! 

Post.  Which,  by  their  graces,  I  will  keep. 

lach.  You  may  wear  her  in  title  yours :  but,  you 
know,  strange  fowl  light  upon  neighbouring 
ponds.  Your  ring  may  be  stolen  too :  so  your 
brace  of  unprizable  estimations,  the  one  is  but 

36 


CYMBELINE  Act  I.  Sc.  iv. 

frail  and  the  other  casual ;    a  cunning  thief,  or 

a  that  way  accomplished  courtier,  would  hazard 

the  winning  both  of  first  and  last. 
Post.  Your  Italy  contains  none  so  accompHshed  a  lOO 

courtier  to  convince  the  honour  of  my  mistress ; 

if,  in  the  holding  or  loss  of  that,  you  term  her 

frail.     I   do  nothing  doubt  you  have  store  of 

thieves ;  notwithstanding,  I  fear  not  my  ring. 
Phi.  Let  us  leave  here,  gentlemen. 
Post.  Sir,  with  all  my  heart.     This  worthy  signior, 

I  thank  him,  makes  no  stranger  of  me;    we  are 

familiar  at  first. 
lach.  With  five  times  so  much  conversation,  I  should 

get  ground  of  your  fair  mistress,  make  her  go  no 

back  even  to  the  yielding,  had  I  admittance  and 

opportunity  to  friend. 
Post.  No,  no. 
lack.  I  dare  thereupon  pawn  the  moiety  of  my  estate 

to  your  ring,  which  in  my  opinion  o'er-values  it 

something :  but  I  make  my  wager  rather  against 

your  confidence  than  her  reputation :  and,  to  bar 

your  offence  herein  too,  I  durst  attempt  it  against 

any  lady  in  the  world. 
Post.  You  are  a  great  deal  abused  in  too  bold  a  per-  120 

suasion,  and  I  doubt  not  you  sustain  what  you  're 

worthy  of  by  your  attempt. 
lach.  What's  that? 
Post.  A  repulse :  though  your  attempt,  as  you  call  it, 

deserve  more  ;  a  punishment  too. 
Phi.  Gentlemen,    enough    of   this :     it   came    in   too 

suddenly;   let  it  die  as  it  was  bom,  and,  I  pray 

you,  be  better  acquainted. 

Z7 


Act  I.  Sc.  iv.  CYMBELINE 

lach.  Would  I  had  put  my  estate  and  my  neighbour's 

on  the  approbation  of  what  I  have  spoke !  1 30 

Post.  What  lady  would  you  choose  to  assail  ? 

loch.  Yours ;  whom  in  constancy  you  think  stands 
so  safe.  I  will  lay  you  ten  thousand  ducats  to 
your  ring,  that,  commend  me  to  the  court  where 
your  lady  is,  with  no  more  advantage  than  the 
opportunity  of  a  second  conference,  and  I  will 
bring  from  thence  that  honour  of  hers  which  you 
imagine  so  reserved. 

Post.  I  will  wage  against  your  gold,  gold  to  it :   my 

ring  I  hold  dear  as  my  finger  ;   'tis  part  of  it.  140 

lach.  You  are  afraid,  and  therein  the  wiser.  If  you 
buy  ladies'  flesh  at  a  million  a  dram,  you  cannot 
preserve  it  from  tainting:  but  I  see  you  have 
some  religion  in  you,  that  you  fear. 

Post.  This  is  but  a  custom  in  your  tongue ;  you  bear 
a  graver  purpose,  I  hope. 

lach.  I  am  the  master  of  my  speeches,  and  would 
undergo  what 's  spoken,  I  swear. 

Post.  Will  you?     I  shall  but  lend  my  diamond  till 

your  return:    let  there  be  covenants  drawn  be-  150 
tween  's ;    my  mistress  exceeds  in  goodness  the 
hugeness  of  your  unworthy  thinking :  I  dare  you 
to  this  match  :   here  's  my  ring. 

Phi.  I  will  have  it  no  lay. 

lach.  By  the  gods,  it  is  one.  If  I  bring  you  no 
sufficient  testimony  that  I  have  enjoyed  the 
dearest  bodily  part  of  your  mistress,  my  ten 
thousand  ducats  are  yours ;  so  is  your  diamond 
too :  if  I  come  off,  and  leave  her  in  such  honour 
as  you  have  trust  in,  she  your  jewel,  this  your  160 

38 


CYMBELINE  Act  I.  Sc.  v. 

jewel,  and  my  gold  are  yours;  provided  I  have 
your  commendation  for  my  more  free  entertain- 
ment. 

Post.  I  embrace  these  conditions ;  let  us  have  articles 
betwixt  us.  Only,  thus  far  you  shall  answer: 
if  you  make  your  voyage  upon  her,  and  give  me 
directly  to  understand  you  have  prevailed,  I  am 
no  further  your  enemy ;  she  is  not  worth  our 
debate :  if  she  remain  un seduced,  you  not 
making  it  appear  otherwise,  for  your  ill  opinion  170 
and  the  assault  you  have  made  to  her  chastity, 
you  shall  answer  me  with  your  sword. 

lach.  Your  hand ;  a  covenant :  we  will  have  these 
things  set  down  by  lawful  counsel,  and  straight 
away  from  Britain,  lest  the  bargain  should  catch 
cold  and  starve :  I  will  fetch  my  gold,  and  have 
our  two  v/agers  recorded. 

Post.  Agreed.  [Exeunt  Posthiimiis  and  lachimo. 

French.  Will  this  hold,  think  you  ? 

Phi.  Signior  lachimo  will  not  from  it.     Pray  let  us  180 
follow  'em.  [Exeunt, 

Scene  V. 

Britain.    A  room  in  Cymbeline's  palace. 
Enter  Queen,  Ladies,  and  Cornelius. 

Queen.  Whiles  yet  the  dew  's  on  ground,  gather  those 
flowers ; 

Make  haste  :   who  has  the  note  of  them  ? 
First  Lady.  I,  madam. 

Queen.  Dispatch.  [Exeunt  Ladies. 

Now,  master  doctor,  have  you  brought  those  drugs  ? 

39 


Act  I.  Sc.  V.  CYMBELINE 

Cor,  Pleaseth  your  highness,  ay :  here  they  are,  madam : 

[Presenting  a  small  box. 
But  I  beseech  your  grace,  without  offence, — 
My  conscience  bids  me  ask — wherefore  you  have 
Commanded  of  me  these  most  poisonous  compounds. 
Which  are  the  movers  of  a  languishing  death, 
But,  though  slow,  deadly. 

Queen.  I  wonder,  doctor,  lo 

Thou  ask'st  me  such  a  question.    Have  I  not  been 
Thy  pupil  long  ?    Hast  thou  not  learn'd  me  how 
To  make  perfumes?   distil?   preserve?   yea,  so 
That  our  great  king  himself  doth  woo  me  oft 
For  my  confections?    Having  thus  far  proceeded, — 
Unless  thou  think'st  me  devilish — is  't  not  meet 
That  I  did  amplify  my  judgement  in 
Other  conclusions  ?    I  will  try  the  forces 
Of  these  thy  compounds  on  such  creatures  as 
We  count  not  worth  the  hanging,  but  none  human. 
To  try  the  vigour  of  them  and  apply  21 

Allayments  to  their  act,  and  by  them  gather 
Their  several  virtues  and  effects. 

Cor.  Your  highness 

Shall  from  this  practice  but  make  hard  your  heart : 
Besides,  the  seeing  these  effects  will  be 
Both  noisome  and  infectious. 

Queen.  O,  content  thee. 

Enter  Pisanio. 

[Aside]  Here  comes  a  flattering  rascal ;  upon  him 
Will  I  first  work :  he  's  for  his  master. 
And  enemy  to  my  son.    How  now,  Pisanio ! 
Doctor,  your  service  for  this  time  is  ended ;  30 

40 


CYMBELINE  Act  I.  Sc.  v. 

Take  your  own  way. 

Cor.  [Aside]  I  do  suspect  you,  madam; 

But  you  shall  do  no  harm. 

Queen.  [To  Pisanio]  Hark  thee,  a  word. 

Cor.    [Aside]  I  do  not  Hke  her.    She  doth  think  she  has 
Strange  lingering  poisons :   I  do  know  her  spirit, 
And  will  not  trust  one  of  her  malice  with 
A  drug  of  such  damn'd  nature.    Those  she  has 
Will  stupefy  and  dull  the  sense  awhile  ; 
Which  first,  perchance,  she  '11  prove  on  cats  and  dogs. 
Then  afterward  up  higher :  but  there  is 
No  danger  in  what  show  of  death  it  makes.  40 

More  than  the  locking  up  the  spirits  a  time. 
To  be  more  fresh,  reviving.  She  is  fool'd 
With  a  most  false  effect ;  and  I  the  truer. 
So  to  be  false  with  her. 

Queen.  No  further  service,  doctor, 

Until  I  send  for  thee. 

Co7'.  I  humbly  take  my  leave.    [Exit. 

Queen.  Weeps  she  still,  say'st  thou  ?    Dost  thou  think  in 
time 
She  will  not  quench  and  let  instructions  enter 
Where  folly  now  possesses  ?    Do  thou  work  : 
When  thou  shalt  bring  me  word  she  loves  my  son, 
I  '11  tell  thee  on  the  instant   thou  art  then  50 

As  great  as  is  thy  master  ;  greater,  for 
His  fortunes  all  lie  speechless,  and  his  name 
Is  at  last  gasp :   return  he  cannot,  nor 
Continue  where  he  is  :  to  shift  his  being 
Is  to  exchange  one  misery  with  another, 
And  every  day  that  comes  comes  to  decay 
A  day's  work  in  him.    What  shalt  thou  expect, 

41 


Act  I.  Sc.  V.  CYMBELINE 

To  be  depender  on  a  thing  that  leans, 
Who  cannot  be  new  built,  nor  has  no  friends. 
So  much  as  but  to  prop  him  !     [The  Qiiccii  drops  the 
box:  Pisanio  takes  it  up.]     Thou  takest  up     60 
Thou  know' st  not  what ;  but  take  it  for  thy  labour : 
It  is  a  thing  I  made,  which  hath  the  king 
Five  times  redeem'd  from  death  :  I  do  not  know 
What  is  more  cordial :  nay,  I  prithee,  take  it ; 
It  is  an  earnest  of  a  further  good 
That  I  mean  to  thee.    Tell  thy  mistress  how 
The  case  stands  with  her ;   do  't  as  from  thyself. 
Think  what  a  chance  thou  changest  on ;  but  think 
Thou  hast  thy  mistress  still,  to  boot,  my  son, 
Who  shall  take  notice  of  thee :    I  '11  move  the  king 
To  any  shape  of  thy  preferment,  such  71 

As  thou  'It  desire ;  and  then  myself,  I  chiefly, 
That  set  thee  on  to  this  desert,  am  bound 
To  load  thy  merit  richly.    Call  my  women : 
Think  on  my  words.  [Exit  Pisanio. 

A  sly  and  constant  knave ; 
Not  to  be  shaked :  the  agent  for  his  master ; 
And  the  remembrancer  of  her  to  hold 
The  hand-fast  to  her  lord.    I  have  given  him  that 
Which,  if  he  take,  shall  quite  unpeople  her 
Of  Hegers  for  her  sweet ;  and  which  she  after,         80 
Except  she  bend  her  humour,  shall  be  assured 
To  taste  of  too. 

Re-enter  Pisanio  zuith  Ladies. 

So,  so ;  well  done,  well  done : 
The  violets,  cowslips,  and  the  primroses. 
Bear  to  my  closet.    Fare  thee  well,  Pisanio ; 
42 


CYMBELINE  Act  I.  Sc.  vi. 

Think  on  my  words.  [Exeunt  Queen  and  Ladies. 

Pis.  And  shall  do : 

But  when  to  my  good  lord  I  prove  untrue, 

I  '11  choke  myself :  there  's  all  I  '11  do  for  you.     [Exit. 

Scene  VI. 

The  same.     Another  room  in  the  palace. 

Enter  Imogen  alone. 

/I  ,•  ^ 

Imo.  A  father  cruel,  and  a  step-dame  false;  .  'i'^'^'  6-uy 


A  foolish  suitor  to  a  wedded  lady, 

That  hath  her  husband  banish'd ; — O,  that  husband  !    -^    ^ 

My  supreme  crown  of  grief !   and  those  repeated 

Vexations  of  it !    Had  I  been  thLef-sto}'n, 

As  my  two  brothers,  happy !  but  rnost  .'niiserable  ■       ''■-o 

Is%ie  desire  that 's  glorious  :   blest  be  t'hise/       •  \-^»-^" /^ 

How  mean  soe'er,  that  hath  their  honest  wills,        \    ^Sjux^ 

Which  seasons  comfort.    Who  may  this  be  ?    Fie !    \    /XMt^iCy, 

Enter  Pisanio  and  lachimo. 

Pis.  Madam,  a  noble  gentleman  of  Rome,  lo 

Comes  from  my  lord  with  letters. 
Jack.  Change  you,  madam  ? 

The  worthy  Leonatus  is  in  safety. 

And  greets  your  highness  dearly.     [Presents  a  letter. 
Imo.  Tljanks,  good  sir : 

You  're  kindly  welcome. 
lach.   [Aside]  All  of  her  that  is  out  of  door  most  rich ! 

If  she  be  furnish'd  with  a  mind  so  rare, 

She  is  alone  the  Arabian  bird,  and  I 

Have  lost  the  wager.     Boldness  be  my  friend ! 

Arm  me,  audacity,  from  head  to  foot ! 

43 


^^^  '?(!.^co^,a..-        ^,  .        ^ 

Act  I.  Sc.  vi.  CYMBELINE 

Or,  like  the  Parthian,  I  shall  flying  fight ;  20 

Rather,  directly  fly. 
Imo.   [Reads]  'He  is  one  of  the  noblest  note,  to  whose 

kindnesses  I  am  most  infinitely  tied.   Reflect  upon 

him  accordingly,  as  you  value  your  trust — 

*  Leonatus/ 

So  far  I  read  aloud : 

But  even  the  very  middle  of  my  heart 

Is  warm'd  by  the  rest,  and  takes  it  thankfully. 

You  are  as  welcome,  worthy  sir,  as  I 

Have  words  to  bid  you,  and  shall  find  it  so  30 

In  all  that  I  can  do. 
lack.  Thanks,  fairest  lady 

What,  are  men  mad?  /Hath  nature  given  them  eyes 
n      To  see  this  vaulted  arcn  and  the  rich  crop 
*^-*^^      Of  sea  and  land,  which  can  distinguish  'twixt 
^^■^^^         The  fiery  orbs  above  and  the  twinn'd  stones 
IfX^^^      Upon  the  number'd  beach,  and  can  we  not 
j^j^  Partition  make  with  spectacles  so  precious 

tW  'Twixt  fair  and  foul  ? 

J^J'ino.  What  makes  your  admiration? 

j^^^ac/j.  It  cannot  be  i'  the  eye ;  for  apes  and  monkeys, 

i*     'Twixt  two  such  shes,  would  chatter  this  way  and 
'*"*'^  Contemn  with  mows  the  other:    nor  i'  the  judge- 

l^.xialc  ment;  41 

libot  \X  •    For  idiots,  in  this  case  of  favour,  would 
.   J  Be  wisely  definite :  nor  i'  the  appetite ; 

^i  Sluttery,  to  such  neat  excellence  opposed, 

/yj|Ai5,h      Should  make  desire  vomit  emptiness,      s,     ,     (!    /\  ^ 

^  Imo.  What  is  the  matter,  trow  ? 
lach,  ^     ^g  The  cloyed  will, 

44 


CYMBELINE  Act  I.  Sc.  vi. 

That  satiate  yet  unsatisfied  desire,  that  tub 

Both  fill'd  and  running,  ravening  first  the  lamb, 

Longs  after  for  the  garbage. 
Imo.  What,  dear  sir,  50 

Thus  raps  you  ?    Are  you  well  ? 
lach.  Thanks,  madam  ;  well. 

\To  Pisanio]  Beseech  you,  sir, 

Desire  my  man's  abode  where  I  did  leave  him : 

He  's  strange  and  peevish. 
Pis.  I  was  going,  sir, 

To  give  him  welcome.  [Exit. 

Imo.  Continues  well  my  lord?    His  health,  beseech  you? 
lach.  Well,  madam. 

Imo.  Is  he  disposed  to  mirth  ?    I  hope  he  is. 
lach.  Exceeding  pleasant ;  none  a  stranger  there 

So  merry  and  so  gamesome :   he  is  call'd  60 

The  Briton  reveller. 
Imo.  When  he  was  here 

He  did  incline  to  sadness,  and  oft-times 

Not  knowing  why. 
lach.  I  never  saw  him  sad, 

There  is  a  Frenchman  his  companion,  one 

An  eminent  monsieur,  that,  it  seems,  much  loves 

A  Gallian  girl  at  home :  he  furnaces 

The  thick  sighs  from  him  ;  whiles  the  jolly  Briton, 

Your  lord,  I  mean,  laughs  from  's  free  lungs,  cries 
'O, 

Can  my  sides  hold,  to  think  that  man,  who  knows 

By  history,  report,  or  his  own  proof,  70 

Wliat  woman  is,  yea,  what  she  cannot  choose 

But  must  be,  will  his  free  hours  languish  for 

Assured  bondage  ? ' 
Imo.  Will  my  lord  say  so? 

4S 


Act  I.  Sc.  vi.  CYMBELINE 

lack.  Ay,  madam  ;  with  his  eyes  in  flood  with  laughter 

It  is  a  recreation  to  be  by 

And  hear  him  mock  the  Frenchman.     But,  heavens 
know, 

Some  men  are  much  to  blame. 
I  mo.  Not  he,  I  hope. 

lack.  Not  he :  but  yet  heaven's  bounty  towards  him  might 

Be  used  more  thankfully.    In  himself  'tis  much ; 

In  you,  which  I  account  his  beyond  all  talents,  80 

Whilst  I  am  bound  to  wonder,  I  am  bound 

To  pity  too. 
Imo.  What  do  you  pity,  sir? 

lach.  Two  creatures  heartily. 
Imo.  Am  I  one,  sir? 

You  look  on  me :  what  w^reck  discern  you  in  me 

Deserves  your  pity  ? 
lach.  Lamentable!    What, 

To  hide  me  from  the  radiant  sun,  and  solace 

r  the  dungeon  by  a  snuff? 
Imo.  I  pray  you,  sir, 

Deliver  with  more  openness  your  answers 

To  my  demands.    Why  do  you  pity  me  ? 
lach.  That  others  do,  90 

I  was  about  to  say,  enjoy  your But 

It  is  an  office  of  the  gods  to  venge  it, 

Not  mine  to  speak  on  't. 
Imo.  You  do  seem  to  know 

Something  of  me,  or  what  concerns  me  :  pray  you, — 

Since  doubting  things  go  ill  often  hurts  more 

Than  to  be  sure  they  do ;   for  certainties 

Either  are  past  remedies,  or,  timely  knowing, 

The  remedy  then  born, — discover  to  me 

46 


CYMBELINE  Act  I.  Sc.  vi. 

What  both  you  spur  and  stop. 

lach.  Had  I  this  cheek 

To  bathe  my  Hps  upon  ;  this  hand,  whose  touch,    lOO 
Whose  every  touch,  would  force  the  feeler's  soul 
To  the  oath  of  loyalty ;  this  object,  which 
^  Takes  prisoner  the  wild  motion  of  mine  eye, 
I  Fixing  it  only  here ;  should  I,  damn'd  then, 
/   Slaver  with  lips  as  common  as  the  stairs 

*    \   That  mount  the  Capitol ;   join  gripes  with  hands 
Made  hard  with  hourly  falsehood — falsehood,  as 
With  labour ;  then  by-peeping  in  an  eye 
Base  and  unlustrous  as  the  smoky  light 
That 's  fed  with  stinking  tallow  ;   it  were  fit  no 

That  all  the  plagues  of  hell  should  at  one  time 
Encounter  such  revolt. 

Imo.  I\Iy  lord,  I  fear, 

Has  forgot  Britain.  _,^ 

lach.  ,     /     ^    ^nd  himself.     Not  I   ^«-tou    A^>-f 

Inclined  to  this  intelligence  pronounce  ^^ccl  ^->'MxjiM<.  Ujtu^i 
The  beggary  of  his  change,  but  'tis  your  graces 
That  from  my  mutest  conscience  to  my  tongue 
Charms  this  report  out. 

Into.  Let  me  hear  no  more. 

lach.  O  dearest  soul,  your  cause  doth  strike  my  heart 
With  pity,  that  doth  make  me  sick !    A  lady 
So  fair,  and  fasten'd  to  an  empery,  120 

Would  make  the  greatest  king  double,  to  be  partner'd 
With  tomboys  hired  with  that  self  exhibition 
Which  your  own  cofifers  yield !  with  diseased  ventures 
That  play  with  all  infirmities  for  gold 
Which  rottenness  can  lend  nature !    such  boil'd  stuff 
As  well  might  poison  poison  !    Be  revenged, 

47 


Act  L  Sc.  vi.  CYMBELINE 

Or  she  that  bore  you  was  no  queen  and  you 
Recoil  from  your  great  stock. 

Imo.  Revenged ! 

How  should  I  be  revenged?    If  this  be  true, — 
As  I  have  such  a  heart  that  both  mine  ears  130 

Must  not  in  haste  abuse, — if  it  be  true, 
How  should  I  be  revenged? 

lach.  Should  he  make  me 

Live  like  Diana's  priest,  betwixt  cold  sheets, 
Whiles  he  is  vaulting  variable  ramps, 
In  your  despite,  upon  your  purse  ?    Revenge  it. 
I  dedicate  myself  to  your  sweet  pleasure, 
More  noble  than  that  runagate  to  your  bed. 
And  will  continue  fast  to  your  affection. 
Still  close  as  sure. 

Imo.  What  ho,  Pisanio! 

lach.  Let  me  my  service  tender  on  your  lips.  140 

Imo.  Away !    I  do  condemn  mine  ears  that  have 

So  long  attended  thee.    If  thou  wert  honourable, 

Thou  w^ouldst  have  told  this  tale  for  virtue,  not 

For  such  an  end  thou  seek'st,  as  base  as  strange. 

Thou  wrong'st  a  gentleman  who  is  as  far 

From  thy  report  as  thou  from  honour,  and 

Solicit'st  here  a  lady  that  disdains 

Thee  and  the  devil  alike.     What  ho,  Pisanio ! 

The  king  my  father  shall  be  made  acquainted 

Of  thy  assault :  if  he  shall  think  it  fit  150 

A  saucy  stranger  in  his  court  to  mart 

As  in  a  Romish  stew,  and  to  expound 

His  beastly  mind  to  us,  he  hath  a  court 

He  little  cares  for,  and  a  daughter  who 

He  not  respects  at  all.    What  ho,  Pisanio ! 

48 


CYMBELINE  Act  I.  Sc.  vi. 

lach.  O  happy  Leonatus  !    I  may  say : 
The  credit  that  thy  lady  hath  of  thee 
Deserves  thy  trust,  and  thy  most  perfect  goodness 
Her  assured  credit.    Blessed  live  you  long ! 
A  lady  to  the  worthiest  sir  that  ever  i6o 

Country  call'd  his  !  and  you  his  mistress,  only 
For  the  most  worthiest  fit !    Give  me  your  pardon. 
I  have  spoke  this  to  know  if  your  affiance 
Were  deeply  rooted,  and  shall  make  your  lord 
That  which  he  is  new  o'er :   and  he  is  one 
The  truest  manner'd,  such  a  holy  witch 
That  he  enchants  societies  into  him ; 
Half  all  men's  hearts  are  his. 

Imo.  You  make  amends. 

lach.  He  sits  'mongst  men  like  a  descended  god : 

He  hath  a  kind  of  honour  sets  him  off,  170 

More  than  a  mortal  seeming.    Be  not  angry. 
Most  mighty  princess,  that  I  have  adventured 
To  try  your  taking  of  a  false  report,  which  hath 
Honour'd  with  confirmation  your  great  judgement 
In  the  election  of  a  sir  so  rare. 
Which  you  know  cannot  err.    The  love  I  bear  him 
Made  me  to  fan  you  thus,  but  the  gods  made  you, 
Unlike  all  others,  chaffless.    Pray,  your  pardon. 

Imo.  All 's  well,  sir :  take  my  power  i'  the  court  for  yours. 

lach.  My  humble  thanks.     I  had  almost  forgot  180 

To  entreat  your  grace  but  in  a  small  request, 
And  yet  of  moment  too,  for  it  concerns 
Your  lord ;  myself  and  other  noble  friends 
Are  partners  in  the  business. 

Imo.  Pray,  what  is  't  ? 

lach.  Some  dozen  Romans  of  us,  and  your  lord — 

49 


Act  I.  Sc.  vi.  CYMBELINE 

The  best  feather  of  our  wing — have  mingled  sums 

To  buy  a  present  for  the  emperor ; 

Which  I,  the  factor  for  the  rest,  have  done 

In  France:   'tis  plate  of  rare  device  and  jewels 

Of  rich  and  exquisite  form,  their  values  great ;       190 

And  I  am  something  curious,  being  strange. 

To  have  them  in  safe  stowage :  may  it  please  you 

To  take  them  in  protection? 

Into.  Willingly ; 

And  pawn  mine  honour  for  their  safety :  since 
My  lord  hath  interest  in  them,  I  will  keep  them 
In  my  bedchamber. 

lach.  They  are  in  a  trunk, 

Attended  by  my  men :   I  will  make  bold 
To  send  them  to  you,  only  for  this  night ; 
I  must  aboard  to-morrow. 

Imo.  O,  no,  no. 

lach.  Yes,  I  beseech ;  or  I  shall  short  my  word  200 

By  lengthening  my  return.     From  Gallia 
I  cross'd  the  seas  on  purpose  and  on  promise 
To  see  your  grace. 

Imo,  I  thank  you  for  your  pains : 

But  not  away  to-morrow ! 

lach.  O,  I  must,  madam : 

Therefore  I  shall  beseech  you,  if  you  please 
To  greet  your  lord  with  writing,  do  't  to-night : 
I  have  outstood  my  time,  which  is  material 
To  the  tender  of  our  present. 

Imo.  I  will  write. 

Send  your  trunk  to  me ;  it  shall  safe  be  kept 
And  truly  yielded  you.    You  're  very  welcome.      210 

[Exeunt. 

50 


CYMBELINE  Act  II.  Sc.  i. 

ACT  SECOND. 
Scene  I. 

Britain.    Before  Cymheline's  palace. 
Enter  Cloten  and  tzvo  Lords. 

Clo.  Was  there  ever  man  had  such  luck!  when  I 
kissed  the  jack,  upon  an  up-cast  to  be  hit 
away !  I  had  a  hundred  pound  on  't :  and  then 
a  whoreson  jackanapes  must  take  me  up  for 
swearing ;  as  if  I  borrowed  mine  oaths  of  him, 
and  might  not  spend  them  at  my  pleasure. 

First  Lord,  What  got  he  by  that?  You  have  broke 
his  pate  with  your  bowl. 

Sec.  Lord.    [Aside]  If  his  wit  had  been  like  him  that 

broke  it,  it  would  have  run  all  out.  lo 

Clo.  When  a  gentleman  is  disposed  to  swear,  it  is  not 
for  any  standers-by  to  curtail  his  oaths,  ha? 

Sec.  Lord.  No,  my  lord ;  [Aside]  nor  crop  the  ears  of 
them. 

Clo.  Whoreson  dog !  I  give  him  satisfaction  ?  Would 
he  had  been  one  of  my  rank ! 

Sec.  Lord.    [Aside]  To  have  smelt  like  a  fool. 

Clo.  I  am  not  vexed  more  at  any  thing  in  the  earth : 
a  pox  on  't !  I  had  rather  not  be  so  noble  as  I 
am ;  they  dare  not  fight  with  me,  because  of  the  20 
queen  my  mother:  every  Jack-slavj  hath  his 
bellyful  of  fighting,  and  I  must  go  up  and  down 
like  a  cock  that  nobody  can  match. 

Sec.  Lord.  [Aside]  You  are  cock  and  capon  too; 
and  you  crow,  cock,  with  your  comb  on. 

Clo.  Sayest  thou? 

51 


Act  II.  Sc.  i.  CYMBELINE 

Sec.  Lord.  It  is  not  fit  your  lordship  should  under- 
take every  companion  that  you  give  offence  to. 

Clo.  No,  I  know  that :   but  it  is  fit  I  should  commit 

offence  to  my  inferiors.  30 

Sec.  Lord.  Ay,  it  is  fit  for  your  lordship  only. 

Clo.  Why,  so  I  say. 

First  Lord.  Did  you  hear  of  a  stranger  that 's  come 
to  court  to-night? 

Clo.  A  stranger,  and  I  not  know  on  't ! 

Sec.  Lord.    [Aside]    He  's  a  strange  fellow  himself, 
and  knows  it  not. 

First  Lord.  There  's  an  Italian  come,  and  'tis  thought, 
one  of  Leonatus'  friends. 

Clo.  Leonatus  !  a  banished  rascal ;  and  he  's  another,     40 
whatsoever    he    be.      Who    told    you    of    this 
stranger  ? 

First  Lord.  One  of  your  lordship's  pages. 

Clo.  Is  it  fit  I  went  to  look  upon  him?    is  there  no 
derogation  in  't  ? 

Sec.  Lord.  You  cannot  derogate,  my  lord. 

Clo.  Not  easily,  I  think. 

Sec.  Lord.    [Aside]  You  are  a  fool  granted ;    there- 
fore your  issues,  being  foolish,  do  not  derogate. 

Clo.  Come,  I  '11  go  see  this  Italian :  what  I  have  lost     50 
to-day  at  bowls  I  '11  win  to-night  of  him.    Come, 
go- 

Sec.  Lord.  I  '11  attend  your  lordship. 

[Exeunt  Cloten  and  First  Lord. 
That  such  a  crafty  devil  as  is  his  mother 
Should  yield  the  world  this  ass  ?  a  woman  that 
Bears  all  down  with  her  brain ;   and  this  her  son 
Cannot  take  two  from  twenty,  for  his  heart, 

52 


CYMBELINE  Act  II.  Sc.  ii. 

And  leave  eighteen.    Alas,  poor  princess, 

Thou  divine  Imogen,  what  thou  endurest. 

Betwixt  a  father  by  thy  step-dame  govern' d,  60 

A  mother  hourly  coining  plots,  a  wooer 

More  hateful  than  the  foul  expulsion  is 

Of  thy  dear  husband,  than  that  horrid  act 

Of  the  divorce  he  'Id  make !    The  heavens  hold  firm 

The  walls  of  thy  dear  honour ;  keep  unshaked 

That  temple,  thy  fair  mind ;  that  thou  mayst  stand, 


To  enjoy  thy  banish'd  lord  and  this  great  land 


[Exit. 


Scene  II. 

Imogen*s  bedchamber  in  Cymbeline's  palace: 
a  trunk  in  one  corner  of  it. 

Imogen  in  bed,  reading;  a  Lady  attending. 

Into.  Who  's  there  ?   my  woman  Helen  ? 

Lady.  Please  you,  madam. 

Imo.  What  hour  is  it  ? 

Lady.  Almost  midnight,  madam. 

Imo.  I  have  read  three  hours  then :   mine  eyes  are  weak : 
Fold  down  the  leaf  where  I  have  left :   to  bed : 
Take  not  away  the  taper,  leave  it  burning  ; 
And  if  thou  canst  awake  by  four  o'  the  clock, 
I  prithee,  call  me.    Sleep  hath  seized  me  wholly. 

[Exit  Lady. 
To  your  protection  I  commend  me,  gods ! 
From  fairies  and  the  tempters  of  the  night 
Guard  me,  beseech  ye!  10 

[Sleeps.    lachimo  conies  from  the  trunk. 

lach.  The  crickets  sing,  and  man's  o'er-labour'd  sense 

53 


Act  II.  Sc.  ii.  CYMBELINE 

Repairs  itself  by  rest.     Our  Tarquin  thus 

Did  softly  press  the  rushes,  ere  he  waken'd 

The  chastity  he  wounded.    Cytherea, 

How  bravely  thou  becomest  thy  bed !    fresh  lily ! 

And  whiter  than  the  sheets !    That  I  might  touch 

But  kiss  ;   one  kiss  !    Rubies  unparagon'd, 

How  dearly  they  do  't !    'Tis  her  breathing  that 

Perfumes  the  chamber  thus  :  the  flame  o'  the  taper 

Bows  toward  her,  and  would  under-peep  her  lids     20 

To  see  the  unclosed  lights,  now  canopied 

Under  those  windows,  white  and  azure,  laced 

With  blue  of  heaven's  own  tinct.    But  my  design, 

To  note  the  chamber :   I  will  write  all  down : 

Such  and  such  pictures  ;  there  the  window ;   such 

The  adornment  of  her  bed ;  the  arras,  figures. 

Why,  such  and  such ;  and  the  contents  o'  the  story. 

Ah,  but  some  natural  notes  about  her  body         v 

Above  ten  thousand  meaner  moveables  '  \ 

Would  testify,  to  enrich  mine  inventory.  30  ^ 

O  sleep,  thou  ape  of  death,  lie  dull  upon  her ! 

And  be  her  sense  but  as  a  monument. 

Thus  in  a  chapel  lying !   Come  off,  come  off : 

[Taking  off  her  bracelet. 
As  slippery  as  the  Gordian  knot  was  hard ! 
'Tis  mine ;   and  this  will  witness  outwardly, 
As  strongly  as  the  conscience  does  within, 
To  the  madding  of  her  lord.     On  her  left  breast 
A  mole  cinque-spotted,  like  the  crimson  drops 
I'  the  bottom  of  a  cowslip :  here  's  a  voucher, 
Stronger  than  ever  law  could  make :  this  secret      40 
Will  force  him  think  I  have  pick'd  the  lock  and  ta'en 
The  treasure  of  her  honour.  No  more.  To  what  end  ? 

54 


CYMBELINE  Act  II.  Sc.  iii. 

Why  should  I  write  this  clown,  that 's  riveted, 
Screw'd  to  my  memory  ?    She  hath  been  reading  late 
The  tale  of  Tereus  ;  here  the  leaf  's  turned  down 
Where  Philomel  gave  up.     I  have  enough : 
To  the  trunk  again,  and  shut  the  spring  of  it. 
Swift,  swift,  you  dragons  of  the  night,  that  dawning 
May  bare  the  raven's  eye  !    I  lodge  in  fear  ; 
Though  this  a  heavenly  angel,  hell  is  here.  50 

[Clock  strikes. 
One,  two,  three  :  time,  time ! 

[Goes  info  the  trunk.     The  scene  closes. 

Scene  III. 

An  ante-chamber  adjoining  Imogen's  apartments. 
Enter  Cloten  and  Lords. 

First  Lord.  Your  lordship  is  the  most  patient  man  in 

loss,  the  most  coldest  that  ever  turned  up  ace. 
Clo.  It  would  make  any  man  cold  to  lose. 
First  Lord.  But  not  every  man  patient  after  the  noble 

temper  of  your  lordship.    You  are  most  hot  and 

furious  when  you  win. 
Clo.  Winning  will  put  any  man  into  courage.     If  I 

could  get  this  foolish  Imogen,  I  should  have  gold 

enough.     It 's  almost  morning,  is  't  not  ? 
First  Lord.  Day,  my  lord.  10 

Clo.  I  would  this  music  would  come :    I  am  advised 

to  give  her  music  o'  mornings ;   they  say  it  will 

penetrate. 

Enter  Musicians. 

Come  on ;   tune :   if  you  can  penetrate  her  with 
your  fingering,  so  ;  we  '11  try  with  tongue  too  :  if 

55 


,«> 


'> 


Act  II.  Sc.  iii.  CYMBELINE 

none  will  do,  let  her  remain ;  but  I  '11  never  give 
o'er.  First,  a  very  excellent  good-conceited 
thing ;  after,  a  wonderful  sweet  air,  with  admir- 
able rich  words  to  it :  and  then  let  her  consider. 

Song. 

Hark,  hark !  the  lark  at  heaven's  gate  sings,  20 

And  Phoebus  'gins  arise. 
His  steeds  to  water  at  those  springs 

On  chaliced  flowers  that  lies ; 
And  winking  Mary-buds  begin 

To  ope  their  golden  eyes  ; 
With  every  thing  that  pretty  is. 

My  lady  sweet,  arise : 
Arise,  arise! 

Clo.  So,   get   you   gone.     If   this   penetrate,   I   will     30 
consider  your  music  the  better :    if  it  do  not,  it 
is   a   vice   in   her   ears,   which   horse-hairs   and 
calves'-guts,  nor  the  voice  of  unpaved  eunuch  to 
boot,  can  never  amend.  [Exeunt  Musicians. 

Sec.  Lord.  Here  comes  the  king. 

Clo.  I  am  glad  I  was  up  so  late ;  for  that 's  the  rea- 
son I  was  up  so  early :  he  cannot  choose  but  take 
this  service  I  have  done  fatherly. 

Enter  Cymbeline  and  Queen. 

Good  morrow  to  your  majesty  and  to  my  gra- 
cious mother.  40 

Cym.  Attend  you  here  the  door  of  our  stern  daugh- 
ter?    Will  she  not  forth? 

Clo.  I  have  assailed  her  with  music,  but  she  vouch- 
safes no  notice. 

56 


CYMBELINE  Act  II.  Sc.  iii. 

Cym.  The  exile  of  hci'  minion  is  too  new ; 

She  hath  not  yet  forgot  him :  some  more  time 
Must  wear  the  print  of  his  remembrance  out, 
And  then  she  's  yours. 

Queen.  You  are  most  bound  to  the  king, 

Who  lets  go  by  no  vantages  that  may 
Prefer  you  to  his  daughter.     Frame  yourself  50 

To  orderly  soliciting,  and  be  friended 
With  aptness  of  the  season ;   make  denials 
Increase  your  services ;  so  seem  as  if 
You  were  inspired  to  do  those  duties  which 
You  tender  to  her ;   that  you  in  all  obey  her, 
Save  when  command  to  your  dismission  tends. 
And  therein  you  are  senseless. 

Clo.  Senseless !    not  so. 

Enter  a  Messenger. 

Mess.  So  like  you,  sir,  ambassadors  from  Rome ; 
The  one  is  Caius  Lucius. 

Cym.  A  worthy  fellow, 

Albeit  he  comes  on  angry  purpose  now ;  60 

But  that 's  no  fault  of  his  :  we  must  receive  him 
According  to  the  honour  of  his  sender ; 
And  towards  himself,  his  goodness  forespent  on  us, 
We  must  extend  our  notice.     Our  dear  son, 
When  you  have  given  good  morning  to  your  mistress. 
Attend  the  queen  and  us  ;  we  shall  have  need 
To  employ  you  towards  this   Roman.     Come,   our 
queen.  [Exeunt  all  hut  Clot  en. 

Clo.  If  she  be  up,  I  '11  speak  with  her;  if  not, 

Let  her  lie  still  and  dream.     By  your  leave,  ho ! 

[Knocks, 

57 


Act  II.  Sc.  iii.  CYMBELINE 

I  know  her  women  are  about  her :   what  70 

If  I  do  Hne  one  of  their  hands?     'Tis  gold 

Which  buys  admittance ;  oft  it  doth ;  yea,  and  makes 

Diana's  rangers  false  themselves,  yield  up 

Their  deer  to  the  stand  o'  the  stealer ;  and  'tis  gold 

Which  makes  the  true  man  kill'd  and  saves  the  thief ; 

Nay,  sometime  hangs  both  thief  and  true  man  :  what 

Can  it  not  do  and  undo?     I  will  make 

One  of  her  women  lawyer  to  me,  for 

I  yet  not  understand  the  case  myself. 

By  your  leave.  [Knocks.     80 

Enter  a  Lady. 

Lady.  Who  's  there  that  knocks  ? 

Clo.  A  gentleman. 

Lady.  No  more? 

Clo.  Yes,  and  a  gentlewoman's  son. 

Lady.  That  s  more 

Than  some  whose  tailors  are  as  dear  as  yours 
Can  justly  boast  of.     What 's  your  lordship's  pleas- 


ure 


Clo.  Your  lady's  person  :  is  she  ready  ? 
Lady.  Ay, 

To  keep  her  chamber. 
Clo.  There  is  gold  for  you ; 

Sell  me  your  good  report. 
Lady.  How !  my  good  name  ?  or  to  report  of  you 

What  I  shall  think  is  good  ?     The  princess ! 

[Exit  Lady. 

Enter  Imogen. 

Clo.  Good  morrow,  fairest :  sister,  your  sweet  hand.      90 
Imo.  Good  morrow,  sir.    You  lay  out  too  much  pains 
For  purchasing  but  trouble :  the  thanks  I  give 

58 


CYMBELINL  Act  II.  Sc.  iii. 

Is  telling  you  that  I  am  poor  of  thanks 
And  scarce  can  spare  them. 

Clo.  Still  I  swear  I  love  you. 

hno.  If  you  but  said  so,  'twere  as  deep  with  me: 
If  you  swear  still,  your  recompense  is  still 
That  I  regard  it  not. 

Clo.  This  is  no  answer. 

Inw.  But  that  you  shall  not  say  I  yield  being  silent, 
I  would  not  speak.     I  pray  you,  spare  me  :  faith, 
I  shall  unfold  equal  discourtesy  loo 

To  your  best  kindness  :  one  of  your  great  knowing 
Should  learn,  being  taught,  forbearance. 

Clo.  To  leave  you  in  your  madness,  'twere  my  sin : 
I  will  not. 

Imo.  Fools  are  not  mad  folks. 

Clo.  Do  you  call  me  fool? 

Imo.  As  I  am  mad,  I  do : 

If  you  '11  be  patient,  I  '11  no  more  be  mad ; 

That  cures  us  both.     I  am  much  sorry,  sir, 

You  put  me  to  forget  a  lady's  manners 

By  being  so  verbal :   and  learn  now  for  all  no 

That  I,  which  know  my  heart,  do  here  pronounce, 

By  the  very  truth  of  it,  I  care  not  for  you. 

And  am  so  near  the  lack  of  charity — 

To  accuse  myself — I  hate  you ;   which  I  had  rather 

You  felt  than  make  't  my  boast. 

Clo.  You  sin  against 

Obedience,  which  you  owe  your  father.     For 
The  contract  you  pretend  with  that  base  wretch, 
One  bred  of  alms  and  foster'd  with  cold  dishes. 
With  scraps  o'  the  court,  it  is  no  contract,  none : 
And  though  it  be  allow'd  in  meaner  parties —         120 

59 


Act  II.  Sc.  iii.  CYMBELINE 

Yet  who  than  he  more  mean  ? — to  knit  their  souls 
On  whom  there  is  no  more  dependency 
But  brats  and  beggary,  in  self-figured  knot ; 
Yet  you  are  curb'd  from  that  enlargement  by 
The  consequence  o'  the  crown,  and  must  not  soil 
The  precious  note  of  it  with  a  base  slave, 
A  hilding  for  a  livery,  a  squire's  cloth, 
A  pantler,  not  so  eminent. 

Into.  Profane  fellow! 

Wert  thou  the  son  of  Jupiter,  and  no  more 
But  what  thou  art  besides,  thou  wert  too  base        130 
To  be  his  groom :   thou  wert  dignified  enough. 
Even  to  the  point  of  envy,  if  'twere  made 
Comparative  for  your  virtues  to  be  styled 
The  under-hangman  of  his  kingdom,  and  hated 
For  being  preferr'd  so  well. 

Clo.  The  south-fog  rot  him! 

Imo.  He  never  can  meet  more  mischance  than  come 
To  be  but  named  of  thee.     His  meanest  garment. 
That  ever  hath  but  clipp'd  his  body,  is  dearer 
In  my  respect  than  all  the  hairs  above  thee,  139 

Were  they  all  made  such  men.     How  now,  Pisanio ! 

Enter  Pisanio. 

Clo.  '  His  garment ! '     Now,  the  devil — 

Imo.  To  Dorothy  my  woman  hie  thee  presently, — 

Clo.  '  His  garment ! ' 

Imo.  I  am  sprited  with  a  fool, 

Frighted  and  anger'd  worse :   go  bid  my  woman 

Search  for  a  jewel  that  too  casually 

Hath  left  mine  arm  :  it  was  thy  master's  :  'shrew  me, 

If  I  would  lose  it  for  a  revenue 
60 


CYMBELINE  Act  II.  Sc.  iv. 

Of  any  king's  in  Europe !     I  do  think 
I  saw  't  this  morning :    confident  I  am 
Last  night  'twas  on  mine  arm  ;   I  kiss'd 
I  hope  it  be  not  gone  to  tell  my  lord 
That  I  kiss  aught  but  he. 

Pis.  'Twill  not  be  lost. 

Into.  I  hope  so:  go  and  search.  [Exit  Pisanio. 

Clo.  You  have  abused  me : 

'  His  meanest  garment !  ' 

Imo.  Ay,  I  said  so,  sir: 

If  you  will  make  't  an  action,  call  w^itness  to  't. 

Clo.  I  will  inform  your  father. 

Into.  Your  mother  too : 

She  's  my  good  lady,  and  will  conceive,  I  hope, 
But  the  worst  of  me.     So,  I  leave  you,  sir, 
To  the  worst  of  discontent.  "  [Exit. 

Clo.  I  '11  be  revenged  : 

*  His  meanest  garment ! '     Well.  [Exit.   i6o 

Scene  IV. 

Rome.     Philario's  house. 
Enter  Posthuiiius  and  Philario. 

Post.  Fear  it  not,  sir :   I  would  I  were  so  sure 
To  win  the  king  as  I  am  bold  her  honour 
Will  remain  hers. 

Phi.  What  means  do  you  make  to  him  ? 

Post.  Not  any  ;  but  abide  the  change  of  time ; 

Quake  in  the  present  winter's  state,  and  wish 
That  warmer  days  would  come  :  in  these  fear'd  hopes, 
I  barely  gratify  your  love;    they  failing, 
I  must  die  much  your  debtor. 

6i 


Act  II.  Sc.  iv.  CYMBELINE 

Phi.  Your  very  goodness  and  your  company 

O'erpays  all  I  can  do.     By  this,  your  king  lo 

Hath  heard  of  great  Augustus :   Caius  Lucius 
Will  do  's  commission  throughly :   and  I  think 
He  '11  grant  the  tribute,  send  the  arrearages, 
Or  look  upon  our  Romans,  whose  remembrance 
Is  yet  fresh  in  their  grief. 

Post.  I  do  believe, 

Statist  though  I  am  none,  nor  like  to  be. 
That  this  will  prove  a  war ;  and  you  shall  hear 
The  legions  now  in  Gallia  sooner  landed 
In  our  not-fearing  Britain  than  have  tidings 
Of  any  penny  tribute  paid.     Our  countrymen  20 

Are  men  more  order'd  than  when  Julius  Caesar 
Smiled  at  their  lack  of  skill,  but  found  their  courage 
Worthy  his  frowning  at :   their  discipline. 
Now  mingled  with  their  courages,  will  make  known 
To  their  approvers  they  are  people  such 
That  mend  upon  the  world. 

Enter  lachimo. 

Phi.  See !   lachimo ! 

Post.  The  swiftest  harts  have  posted  you  by  land. 

And  winds  of  all  the  corners  kiss'd  your  sails, 

To  make  your  vessel  nimble. 
Phi.  Welcome,  sir. 

Post.  I  hope  the  briefness  of  your  answ^er  made  30 

The  speediness  of  your  return. 
lach.  Your  lady 

Is  one  of  the  fairest  that  I  have  look'd  upon. 
Post.  And  therewithal  the  best,  or  let  her  beauty 

Look  through  a  casement  to  allure  false  hearts, 

62 


CYMBELINE  Act  II.  Sc.  iv. 

And  be  false  with  them. 
lach.  Here  are  letters  for  you. 

Post.  Their  tenour  good,  I  trust. 
lach.  'Tis  very  like. 

Phi.  Was  Caius  Lucius  in  the  Britain  court 

When  you  were  there  ? 
lach.  He  was  expected  then, 

But  not  approach'd. 
Post.  All  is  well  yet. 

Sparkles  this  stone  as  it  was  wont  ?  or  is  't  not        40 

Too  dull  for  your  good  wearing? 
lach.  If  I  had  lost  it, 

I  should  have  lost  the  worth  of  it  in  gold. 

I  '11  make  a  journey  twice  as  far,  to  enjoy 

A  second  night  of  such  sweet  shortness  which 

Was  mine  in  Britain ;   for  the  ring  is  won. 
Post.  The  stone  's  too  hard  to  come  by. 
lach.  Not  a  whit. 

Your  lady  being  so  easy. 
Post.  Make  not,  sir. 

Your  loss  your  sport :     I  hope  you  know  that  we 

Must  not  continue  friends. 
lach.  Good  sir,  we  must. 

If  you  keep  covenant.     Had  I  not  brought  50 

The  knowledge  of  your  mistress  home,  I  grant 

We  were  to  question  farther :   but  I  now 

Profess  myself  the  winner  of  her  honour. 

Together  with  your  ring,  and  not  the  wronger 

Of  her  or  you,  having  proceeded  but 

By  both  your  wills. 
Post.  If  you  can  make  't  apparent 

That  you  have  tasted  her  in  bed,  my  hand 

63 


Act  II.  Sc.  iv.  CYMBELINE 

And  ring  is  yours :   if  not,  the  foul  opinion 

You  had  of  her  pure  honour  gains  or  loses 

Your  sword  or  mine,  or  masterless  leaves  both        60 

To  who  shall  find  them. 

lack.  Sir,  my  circumstances, 

Being  so  near  the  truth  as  I  will  make  them, 
Must  first  induce  you  to  believe :  whose  strength 
I  will  confirm  with  oath ;   which,  I  doubt  not, 
You  '11  give  me  leave  to  spare,  when  you  shall  find 
You  need  it  not. 

Post.  •     Proceed. 

lach.  First,  her  bedchamber, — 

Where,  I  confess,  I  slept  not,  but  profess 
Had  that  was  well  worth  watching, — it  was  hang'd 
With  tapestry  of  silk  and  silver ;  the  story 
Proud  Cleopatra,  when  she  met  her  Roman,  70 

And  Cydnus  swell'd  above  the  banks,  or  for 
The  press  of  boats  or  pride :   a  piece  of  work 
So  bravely  done,  so  rich,  that  it  did  strive 
In  workmanship  and  value ;   which  I  wonder'd 
Could  be  so  rarely  and  exactly  wrought, 
Since  the  true  life  on  't  was — 

Post.  This  is  true  ; 

And  this  you  might  have  heard  of  here,  by  me, 
Or  by  some  other. 

lach.  More  particulars 

Must  justify  my  knowledge. 

Post.  So  they  must, 

Or  do  your  honour  injury. 

lach.  The  chimney  ^      80 

Is  south  the  chamber ;  and  the  chimney-piece, 
Chaste  Dian  bathing ;  never  saw  I  figures 

64 


CYMBELINE  Act  11.  Sc.  iv. 

So  likely  to  report  themselves :   the  cutter 

Was  as  another  nature,  dumb  ;   outwent  her, 

Motion  and  breath  left  out. 
Post.  This  is  a  thing 

Which  you  might  from  relation  likewise  reap, 

Being,  as  it  is,  much  spoke  of. 
lach.  The  roof  o'  the  chamber 

With  golden  cherubins  is  fretted :   her  andirons — 

I  had  forgot  them — were  two  winking  Cupids 

Of  silver,  each  on  one  foot  standing,  nicely  90 

Depending  on  their  brands. 
Post.  This  is  her  honour! 

Let  it  be  granted  you  have  seen  all  this, — and  praise 

Be  given  to  your  remembrance — the  description 

Of  w^hat  is  in  her  chamber  nothing  saves 

The  wager  you  have  laid. 
lach.  Then,  if  you  can, 

[Shozving  the  bracelet. 

Be  pale  :  I  beg  but  leave  to  air  this  jewel ;  see ! 

And  now  'tis  up  again :   it  must  be  married 

To  that  your  diamond ;   I  '11  keep  them. 
Post.  Jove ! 

Once  more  let  me  behold  it :   is  it  that 

Which  I  left  with  her? 
lach.  Sir, — I  thank  her — that:  100 

She  stripp'd  it  from  her  arm ;   I  see  her  yet ; 

Her  pretty  action  did  outsell  her  gift, 

And  yet  enrich'd  it  too :   she  gave  it  me 

And  said  she  prized  it  once. 
Post.  May  be  she  pluck'd  it  off 

To  send  it  me. 
lach.  She  writes  so  to  you,  doth  she  ? 

65 


Act  II.  Sc.  iv.  CYMBELINE 

Post.  O,  no,  no,  no !   'tis  true.     Here,  take  this  too ; 

{Gives  the  ring. 

It  is  a  basilisk  unto  mine  eye, 

Kills  me  to  look  on  't.     Let  there  be  no  honour 

Where   there   is   beauty ;     truth,    where    semblance ; 
love. 

Where  there  's  another  man  :   the  vows  of  women 

Of  no  more  bondage  be  to  where  they  are  made    1 1 1 

Than  they  are  to  their  virtues ;   which  is  nothing. 

O,  above  measure  false ! 
Phi.  Have  patience,  sir. 

And  take  your  ring  again ;   'tis  not  yet  won  : 

It  may  be  probable  she  lost  it,  or 

Who  knows  if  one  of  her  women,  being  corrupted, 

Hath  stol'n  it  from  her? 
Post.  Very  true ; 

And  so,  I  hope,  he  came  by  't.     Back  my  ring : 

Render  to  me  some  corporal  sign  about  her 

More  evident  than  this  ;  for  this  was  stol'n.  120 

lach.  By  Jupiter,  I  had  it  from  her  arm. 
Post.  Hark  you,  he  swears  ;  by  Jupiter  he  swears. 

'Tis  true  : — nay,  keep  the  ring — 'tis  true  :  I  am  sure 

She  would  not  lose  it :   her  attendants  are 

All  sworn  and  honourable : — they  induced  to  steal  it ! 

And  by  a  stranger  ! — No,  he  hath  enjoy'd  her : 

The  cognizance  of  her  incontinency 

Is  this:    she  hath  bought  the  name  of  whore  thus 
dearly. 

There,  take  thy  hire ;   and  all  the  fiends  of  hell 

Divide  themselves  between  you ! 
Phi.  Sir,  be  patient:    130 

This  is  not  strong  enough  to  be  believed 

Of  one  persuaded  well  of — 
Post.  Never  talk  on  't ; 

66 


CYMBELINE  Act  II.  Sc.  iv. 

She  hath  been  colted  by  him. 
lack.  If  you  seek 

For  further  satisfying,  under  her  breast — 
■   Worthy  the  pressing — Hes  a  mole,  right  proud 

Of  that  most  deUcate  lodging :   by  my  life, 

I  kiss'd  it,  and  it  gave  me  present  hunger 

To  feed  again,  though  full.     You  do  remember 

This  stain  upon  her  ? 
Post.  Ay,  and  it  doth  confirm 

Another  stain,  as  big  as  hell  can  hold,  140 

Were  there  no  more  but  it. 
lack.  Will  you  hear  more? 

Post.  Spare  your  arithmetic ;   never  count  the  turns ; 

Once,  and  a  milhon ! 
Jack.  I  'h  be  sworn— 

Post.  ^^  swearing. 

If  you  will  swear  you  have  not  done  't  you  He, 

And  I  will  kill  thee  if  thou  dost  deny 

Thou  'st  made  me  cuckold. 
Jack.  I  '11  deny  nothing. 

Post.  O,  that  I  had  her  here,  to  tear  her  limb-meal ! 

I  will  go  there  and  do  't ;  i'  the  court ;  before 

Her  father.     I  '11  do  something—  [Exit, 

pjil  Quite  besides 

The  government  of  patience !     You  have  won  :      150 

Let 's  follow  him  and  pervert  the  present  wrath 

He  hath  against  himself. 
Jack.  With  all  my  heart.   [Exeunt. 


&7 


Act  II.  Sc.  V.  CYMBELINE 

Scene  V. 

Another  room  in  Philario's  house. 

Enter  Posthumus. 

Post.  Is  there  no  way  for  men  to  be,  but  women 
Must  be  half-workers  ?     We  are  all  bastards ; 
And  that  most  venerable  man  which  I 
Did  call  my  father,  was  I  know  not  where 
When  I  was  stamp'd ;   some  coiner  with  his  tools 
Made  me  a  counterfeit :   yet  my  mother  seem'd 
The  Dian  of  that  time :  so  doth  my  wife 
The  nonpareil  of  this.     O,  vengeance,  vengeance ! 
Me  of  my  lawful  pleasure  she  restrain'd. 
And  pray'd  me  oft  forbearance ;   did  it  with  lo 

A  pudency  so  rosy,  the  sweet  view  on  't 
Might  well  have  warm'd  old  Saturn ;   that  I  thought 

her 
As  chaste  as  unsunn'd  snow.     O,  all  the  devils ! 
This  yellow  lachimo,  in  an  hour, — was  't  not  ? — 
Or  less, — at  first? — perchance  he  spoke  not,  but 
Like  a  full-acorn'd  boar,  a  German  one, 
Cried  '  O  !  '  and  mounted ;  found  no  opposition 
But  what  he  look'd  for  should  oppose  and  she 
Should  from  encounter  guard.     Could  I  find  out 
The  woman's  part  in  me !     For  there  's  no  motion  20 
That  tends  to  vice  in  man  but  I  affirm 
It  is  the  woman's  part :  be  it  lying,  note  it. 
The  woman's;   flattering,  hers;   deceiving,  hers; 
Lust  and  rank  thoughts,  hers,  hers ;  revenges,  hers ; 
Ambitions,  covetings,  change  of  prides,  disdain, 
Nice  longing,  slanders,  mutability. 
All  faults  that  may  be  named,  nay,  that  hell  knows, 


CYMBELINE  Act  III.  Sc.  i. 

Why,  hers,  in  part  or  all,  but  rather  all ; 

For  even  to  vice 

They  are  not  constant,  but  are  changing  still  30 

One  vice,  but  of  a  minute  old,  for  one 

Not  half  so  old  as  that.     I  '11  write  against  them, 

Detest  them,  curse  them :   yet  'tis  greater  skill 

In  a  true  hate,  to  pray  they  have  their  will : 

The  very  devils  cannot  plague  them  better.         [Exit. 

ACT  THIRD. 
Scene  I. 

Britain.     A  hall  in  Cymheline's  palace. 

Ent£r  in  state,  Cymhclinc,  Queen,  Cloten,  and  Lords  at 
one  door,  and  at  another,  Cains  Lucius,  and  Attend- 
ants. 

Cym.  Now  say,  what  would  Augustus  Caesar  with  us  ? 

Luc.  When  Julius  Caesar,  whose  remembrance  yet 
Lives  in  men's  eyes  and  will  to  ears  and  tongues 
Be  theme  and  hearing  ever,  was  in  this  Britain 
And  conquer'd  it,  Cassibelan,  thine  uncle, — 
Famous  in  Caesar's  praises,  no  whit  less 
Than  in  his  feats  deserving  it — for  him 
And  his  succession  granted  Rome  a  tribute, 
Yearly  three  thousand  pounds ;   which  by  thee  lately 
Is  left  untender'd. 

Queen.  And,  to  kill  the  marvel,  10 

Shall  be  so  ever. 

Clo.  There  be  many  Caesars 

Ere  such  another  JuHus.     Britain  is 
A  world  by  itself,  and  we  will  nothing  pay 
For  wearing  our  own  noses. 

69 


Act  III.  Sc.  i.  CYMBELINE 

Queen.  That  opportunity, 

Which  then  they  had  to  take  from  's,  to  resume 
We  have  again.     Remember,  sir,  my  hege, 
The  kings  your  ancestors,  together  with 
The  natural  bravery  of  your  isle,  which  stands 
As  Neptune's  park,  ribbed  and  paled  in 
With  rocks  unscaleable  and  roaring  waters,  20 

With  sands  that  will  not  bear  your  enemies'  boats, 
But  suck  them  up  to  the  topmast.     A  kind  of  con- 
quest 
Caesar  made  here ;   but  made  not  here  his  brag 
Of  '  Came,  and  saw,  and  overcame ' :  with  shame — 
The  first  that  ever  touched  him — he  was  carried 
From  off  our  coast,  twice  beaten ;  and  his  shipping — 
Poor  ignorant  baubles ! — on  our  terrible  seas, 
Like  egg-shells  moved  upon  their  surges,  crack'd 
As  easily  'gainst  our  rocks :   for  joy  whereof 
The  famed  Cassibelan,  who  was  once  at  point —    30 
O  giglot  fortune ! — to  master  Caesar's  sword, 
Made  Lud's  town  with  rejoicing  fires  bright 
And  Britons  strut  with  courage. 

Clo.  Come,  there  's  no  more  tribute  to  be  paid :  our 
kingdom  is  stronger  than  it  was  at  that  time; 
and,  as  I  said,  there  is  no  moe  such  Csesars: 
other  of  them  may  have  crooked  noses,  but  to 
owe  such  straight  arms,  none. 

Cym.  Son,  let  your  mother  end. 

Clo.  We  have  yet  many  among  us  can  gripe  as  hard     40 
as  Cassibelan :  I  do  not  say  I  am  one ;  but  I  have 
a   hand.     Why   tribute?    why   should   we   pay 
tribute  ?     If  Caesar  can  hide  the  sun  from  us  with 
a  blanket,  or  put  the  moon  in  his  pocket,  we  will 

70 


CYMBELINE  Act  III.  Sc.  i. 

pay  him  tribute  for  light;    else,   sir,  no  more 
tribute,  pray  you  now. 

Cym.  You  must  know, 

Till  the  injurious  Romans  did  extort 
This  tribute  from  us,  we  were  free :  Caesar's  ambition, 
Which  swell'd  so  much  that  it  did  almost  stretch  50 
The  sides  o'  the  world,  against  all  colour  here 
Did  put  the  yoke  upon  's  ;  which  to  shake  off 
Becomes  a  warlike  people,  whom  we  reckon 
Ourselves  to  be. 

do.  and  Lords.  We  do. 

Cym.  Say  then  to  Csesar, 

Our  ancestor  was  that  Mulmutius  which 
Ordain'd  our  laws,  whose  use  the  sword  of  Caesar 
Hath  too  much  mangled  ;  whose  repair  and  franchise 
Shall,  by  the  power  we  hold,  be  our  good  deed, 
Though  Rome  be  therefore  angry.     Mulmutius  made 

our  laws. 
Who  was  the  first  of  Britain  which  did  put  60 

His  brows  within  a  golden  crown,  and  call'd 
Himself  a  king. 

Liic.  I  am  sorry,  Cymbeline, 

That  I  am  to  pronounce  Augustus  Csesar — 
Caesar,  that  hath  moe  kings  his  servants  than 
Thyself  domestic  officers — thine  enemy : 
Receive  it  from  me,  then :   war  and  confusion 
In  Caesar's  name  pronounce  I  'gainst  thee :   look 
For  fury  not  to  be  resisted.     Thus  defied, 
I  thank  thee  for  myself. 

Cym.  Thou  art  welcome,  Caius. 

Thy  Caesar  knighted  me  ;   my  youth  I  spent  70 

Much  under  him  ;   of  him  I  gather'd  honour ; 

71     . 


Act  III.  Sc.  ii.  CYMBELINE 

Which  he  to  seek  of  me  again,  perforce, 
Behoves  me  keep  at  utterance.     I  am  perfect 
That  the  Pannonians  and  Dalmatians  for 
Their  Hberties  are  now  in  arms ;  a  precedent 
Which  not  to  read  would  show  the  Britons  cold : 
So  Caesar  shall  not  find  them. 

Luc.  Let  proof  speak. 

Clo.  His  majesty  bids  you  welcome.  Make  pastime 
with  us  a  day  or  two,  or  longer:  if  you  seek 
us  afterwards  in  other  terms,  you  shall  find  us  in  80 
our  salt-water  girdle:  if  you  beat  us  out  of  it, 
it  is  yours ;  if  you  fall  in  the  adventure,  our 
crows  shall  fare  the  better  for  you ;  and  there  's 
an  end. 

Luc.  So,  sir. 

Cym,  I  know  your  master's  pleasure,  and  he  mine : 

All  the  remain  is  '  Welcome.'  [Exeunt. 

Scene  II. 

Another  room  in  the  palace. 

Enter  Pisanio,  zvith  a  letter. 

Pis.  How !   of  adultery  ?     Wherefore  write  you  not 
What  monster  's  her  accuser  ?     Leonatus ! 
O  master !   what  a  strange  infection 
Is  fall'n  into  thy  ear!     What  false  Italian, 
As  poisonous-tongued  as  handed,  hath  prevail'd 
On  thy  too  ready  hearing  ?     Disloyal !     No : 
She  's  punish'd  for  her  truth,  and  undergoes. 
More  goddess-like  than  wife-like,  such  assaults 
As  would  take  in  some  virtue.     O  my  master ! 
Thy  mind  to  her  is  now  as  low  as  were  10 

72 


CYMBELINE  Act  III.  Sc.  ii. 

Thy  fortunes.     How!   that  I  should  murder  her? 

Upon  the  love  and  truth  and  vows  which  I 

Have  made  to  thy  command?     I,  her?  her  blood? 

If  it  be  so  to  do  good  service,  never 

Let  me  be  counted  serviceable.     How  look  I, 

That  I  should  seem  to  lack  humanity 

So  much  as  this  fact  comes  to?   [Reading]   'Do't: 

the  letter 
That  I  have  sent  her,  by  her  own  command 
Shall  give  thee  opportunity.'     O  damn'd  paper! 
Black  as  the  ink  that 's  on  thee !     Senseless  bauble, 
Art  thou  a  feodary  for  this  act,  and  look'st  21 

So  virgin-like  without?     Lo,  here  she  comes. 
I  am  ignorant  in  what  I  am  commanded. 

Enter  Imogen. 

Imo.  How  now,  Pisanio ! 

Pis.  Madam,  here  is  a  letter  from  my  lord. 

Imo.  Who  ?  thy  lord  ?  that  is  my  lord  Leonatus ! 
O,  learn'd  indeed  were  that  astronomer 
That  knew  the  stars  as  I  his  characters ; 
He  'Id  lay  the  future  open.     You  good  gods, 
Let  what  is  here  contain'd  relish  of  love,  30 

Of  my  lord's  health,  of  his  content,  yet  not 
That  we  two  are  asunder ;  let  that  grieve  him : 
Some  griefs  are  medicinable ;  that  is  one  of  them, 
For  it  doth  physic  love :   of  his  content, 
All  but  in  that!     Good  wax,  thy  leave.     Blest  be 
You  bees  that  make  these  locks  of  counsel  1     Lovers 
And  men  in  dangerous  bonds  pray  not  alike : 
Though  forfeiters  you  cast  in  prison,  yet 
You  clasp  young  Cupid's  tables.     Good  news,  gods ! 

73 


Act  III.  Sc.  ii.  CYMBELINE 

[Reads]  '  Justice,  and  your  father's,  wrath,  40 
should  he  take  me  in  his  dominion,  could  not  be 
so  cruel  to  me,  as  you,  O  the  dearest  of  creatures, 
would  even  renew  me  with  your  eyes.  Take 
notice  that  I  am  in  Cambria,  at  Milford-Haven : 
what  your  own  love  will  out  of  this  advise  you, 
follow.  So  he  wishes  you  all  happiness,  that 
remains  loyal  to  his  vow,  and  your,  increasing  in 
love, 

*  Leonatus  Posthumus.' 
O,  for  a  horse  with  wings!     Hear'st  thou,  Pisanio? 
He  is  at  Milford-Haven:   read,  and  tell  me  51 

How  far  'tis  thither.     If  one  of  mean  affairs 
May  plod  it  in  a  week,  why  may  not  I 
Glide  thither  in  a  day  ?     Then,  true  Pisanio, — 
Who  long'st,  like  me,  to  see  thy  lord ;   who  long'st 
O,  let  me  bate? — but  not  like  me — yet  long'st. 
But  in  a  fainter  kind : — O,  not  like  me ; 
For  mine  's  beyond  beyond :    say,  and  speak  thick, — 
Love's  counsellor  should  fill  the  pores  of  hearing. 
To  the  smothering  of  the  sense — how  far  it  is        60 
To  this  same  blessed  Milford :   and  by  the  way 
Tell  me  how  Wales  was  made  so  happy  as 
To  inherit  such  a  haven  :  but,  first  of  all, 
How  we  may  steal  from  hence :  and  for  the  gap 
That  we  shall  make  in  time,  from  our  hence-going 
And  our  return,  to  excuse :   but  first,  how  get  hence. 
Why  should  excuse  be  born  or  ere  begot ! 
We  '11  talk  of  that  hereafter.     Prithee,  speak. 
How  many  score  of  miles  may  we  well  ride 
'Twixt  hour  and  hour? 
Pis.  One  score  'twixt  sun  and  sun,     70 

74 


CYMBELINE  Act  III.  Sc.  iii. 

Madam,  's  enough  for  you,  and  too  much  too. 

Into.  Why,  one  that  rode  to  's  execution,  man. 

Could  never  go  so  slow :    I  have  heard  of  riding^ 

wagers, 
Where  horses  have  been  nimbler  than  the  sands 
That  run  i'  the  clock's  behalf.     But  this  is  foolery : 
Go  bid  my  woman  feign  a  sickness,  say 
She  '11  home  to  her  father :  and  provide  me  presently 
A  riding-suit,  no  costlier  than  would  fit 
A  franklin's  housewife. 

Pis,  Madam,  you  're  best  consider. 

Into.  I  see  before  me,  man  :  nor  here,  nor  here,  80 

Nor  what  ensues,  but  have  a  fog  in  them. 
That  I  cannot  look  through.     Away,  I  prithee ; 
Do  as  I  bid  thee :   there  's  no  more  to  say ; 
Accessible  is  none  but  Milford  way.  [Exeunt. 

Scene  III. 

Wales:   a  mountainous  country  with  a  cave. 

Enter  Belarius,  Guideriiis,  and  Arviragus. 

Bel.  A  goodly  day  not  to  keep  house  with  such 

Whose  roof's  as  low  as  ours!     Stoop,  boys:    this 

gate 
Instructs  you  how  to  adore  the  heavens,  and  bows 

you 
To  a  morning's  holy  office :  the  gates  of  monarchs 
Are  arch'd  so  high  that  giants  may  jet  through 
And  keep  their  impious  turbans  on,  without 
Good  morrow  to  the  sun.     Hail,  thou  fair  heaven ! 
We  house  i'  the  rock,  yet  use  thee  not  so  hardly 
As  prouder  Hvers  do. 

75 


Act  III.  Sc.  iii.  CYMBELINE 

Gui.  Hail,  heaven ! 

Arv.  '  Hail,  heaven ! 

Bel.  Now  for  our  mountain  sport :   up  to  yond  hill !      lo 
Your  legs  are  young:    I'll  tread  these  flats.     Con- 
sider, 
When  you  above  perceive  me  like  a  crow, 
That  it  is  place  which  lessens  and  sets  off : 
And  you  may  then  revolve  what  tales  I  have  told 

you 
Of  courts,  of  princes,  of  the  tricks  in  war : 
This  service  is  not  service,  so  being  done, 
But  being  so  allow'd :  to  apprehend  thus, 
Draws  us  a  profit  from  all  things  we  see ; 
And  often,  to  our  comfort,  shall  we  find 
The  sharded  beetle  in  a  safer  hold  20 

Than  is  the  full-wing'd  eagle.     O,  this  life 
Is  nobler  than  attending  for  a  check. 
Richer  than  doing  nothing  for  a  bauble, 
Prouder  than  rustling  in  unpaid- for  silk : 
Such  gain  the  cap  of  him  that  makes  'em  fine, 
Yet  keeps  his  book  uncross'd  :  no  life  to  ours. 

Gui.  Out  of  your  proof  you  speak :   we,  poor  unfledged, 
Have  never  wing'd  from  view  o'  the  nest,  nor  know 

not 
What  air  's  from  home.     Haply  this  life  is  best 
If  quiet  life  be  best,  sweeter  to  you  30 

That  have  a  sharper  known,  well  corresponding 
With  your  stiff  age :   but  unto  us  it  is 
A  cell  of  ignorance,  travelling  a-bed, 
A  prison  for  a  debtor  that  not  dares 
To  stride  a  limit. 

A7'v.  What  should  we  speak  of 

When  we  are  old  as  you?  when  we  shall  hear 

76 


CYMBELINE  Act  III.  Sc.  iii. 

The  rain  and  wind  beat  dark  December,  how 
In  this  our  pinching  cave  shall  we  discourse 
The  freezing  hours  away  ?     We  have  seen  nothing : 
We  are  beastly ;  subtle  as  the  fox  for  prey,  40 

Like  warlike  as  the  wolf  for  what  we  eat : 
Our  valour  is  to  chase  what  flies ;   our  cage 
We  make  a  quire,  as  doth  the  prison' d  bird, 
And  sing  our  bondage  freely. 
j^^^l  How  you  speak ! 

Did  you  but  know  the  city's  usuries. 
And' felt  them  knowingly:   the  art  o'  the  court, 
As  hard  to  leave  as  keep  ;  whose  top  to  climb 
Is  certain  falling,  or  so  slippery  that 
The  fear  's  as  bad  as  falling :   the  toil  o'  the  war, 
A  pain  that  only  seems  to  seek  out  danger  50 

r  the  name  of  fame  and  honour,  which  dies  i'  the 

search. 
And  hath  as  oft  a  slanderous  epitaph 
As  record  of  fair  act ;  nay,  many  times, 
Doth  ill  deserve  by  doing  well ;   what 's  worse, 
Must  court'sy  at  the  censure :— O  boys,  this  story 
The  world  may  read  in  me :  my  body  's  mark'd 
With  Roman  swords,  and  my  report  was  once 
First  with  the  best  of  note  :   Cymbeline  loved  me  ; 
And  when  a  soldier  was  the  theme,  my  name 
Was  not  far  off :  then  was  I  as  a  tree  ^       60 

Whose   boughs    did   bend   with    fruit:    but   in    one 

night, 
A  storm,  or  robbery,  call  it  what  you  will, 
Shook  down  my  mellow  hangings,  nay,  my  leaves, 
And  left  me  bare  to  weather. 
Q^^l  Uncertain  favour! 

77 


^ci  III.  Sc.  iii.  CYMBELINE 

BeL  My  fault  being  nothing,  as  I  have  told  you  oft,    . 
But  that  two  villains,  whose  false  oaths  prevall'd 
Before  my  perfect  honour,  swore  to  Cymbellne 
I  was  confederate  with  the  Romans ;   so 
Follow'd  my  banishment ;  and  this  twenty  years 
This  rock  and  these  demesnes  have  been  my  world : 
Where  I  have  lived  at  honest  freedom,  paid  71 

More  pious  debts  to  heaven  than  In  all 
The  fore-end  of  my  time.     But  up  to  the  mountains ! 
This  Is  not  hunters'  language :  he  that  strikes 
The  venison  first  shall  be  the  lord  o'  the  feast ; 
To  him  the  other  two  shall  minister ; 
And  we  will  fear  no  poison,  which  attends 
In  place  of  greater  state.     I  '11  meet  you  in  the  val- 
leys. 

[Exeunt  Guideriiis  and  Arviragus. 
How  hard  It  Is  to  hide  the  sparks  of  nature ! 
These  boys  know  little  they  are  sons  to  the  king ;    80 
Nor  Cymbellne  dreams  that  they  are  alive. 
They  think  they  are  mine :    and  though  train'd  up 

thus  meanly 
r  the  cave  wherein  they  bow,  their  thoughts  do  hit 
The  roofs  of  palaces,  and  nature  prompts  them 
In  simple  and  low  things  to  prince  it  much 
Beyond  the  trick  of  others.     This  Polydore, 
The  heir  of  Cymbellne  and  Britain,  who 
The  king  his  father  call'd  Guiderius, — Jove ! 
When  on  my  three-foot  stool  I  sit  and  tell 
The  warlike  feats  I  have  done,  his  spirits  fly  out     90 
Into  my  story :   say  '  Thus  mine  enemy  fell, 
And  thus  I  set  my  foot  on  's  neck,'  even  then 
The  princely  blood  flows  in  his  cheek,  he  sweats, 
Strains  his  young  nerves,  and  puts  himself  m  posture 

78 


CYMBELINE  Act  III.  Sc.  ivl 

That  acts  my  words.     The  younger  brother,  Cadwal, 

Once  Arviragus,  in  as  like  a  figure 

Strikes  Hfe  into  my  speech  and  shows  much  more 

His  own  conceiving.     Hark,  the  game  is  roused! 

O  Cymbehne !   heaven  and  my  conscience  knows 

Thou  didst  unjustly  banish  me:   whereon,  lOO 

At  three  and  two  years  old,  I  stole  these  babes, 

Thinking  to  bar  thee  of  succession  as 

Thou  reft'st  me  of  my  lands.     Euriphile, 

Thou   wast  their  nurse;    they  took  thee   for  their 

mother. 
And  every  day  do  honour  to  her  grave : 
Myself,  Belarius,  that  am  Morgan  call'd. 
They  take  for  natural  father.     The  game  is  up. 

[Exit. 

Scene   IV. 

Country  near  Mil  ford-Haven. 
Enter  Pisanio  and  Imogen. 

Imo.  Thou  told'st  me,  when  we  came  from  horse,  the 

place 
Was  near  at  hand :   ne'er  long'd  my  mother  so 
To  see  me  first,  as  I  have  now.     Pisanio !  man  ! 
Where  is  Posthumus  ?     What  is  in  thy  mind. 
That  makes  thee  stare  thus  ?     Wherefore  breaks  that 

sigh 
From  the  inward  of  thee  ?     One  but  painted  thus 
Would  be  interpreted  a  thing  perplex'd 
Beyond  self-explication :    put  thyself 
Into  a  haviour  of  less  fear,  ere  wildness 
Vanquish  my  staider  senses.     What 's  the  matter?  lo 
Why  tender'st  thou  that  paper  to  me,  with 
A  look  untender?     If  't  be  summer  news, 

79 


Act  III.  Sc.  iv.  CYMBELINE 

Smile  to  't  before  ;   if  wintry,  thou  need'st 

But    keep    that    countenance    still.     My    husband's 

hand! 
iThat  drug- damn' d  Italy  hath  out-craftied  him, 
■And  he  's   at   some  hard  point.     Speak,   man;    thy 

tongue 
May  take  of  some  extremity,  which  to  read 
Would  be  even  mortal  to  me. 

Please  you,  read ; 
And  you  shall  find  me,  wretched  man,  a  thing 
The  most  disdain 'd  of  fortune.  20 

Imo.  [Reads]  '  Thy  mistress,  Pisanio,  hath  played 
the  strumpet  in  my  bed ;  the  testimonies  whereof 
lie  bleeding  in  me.  I  speak  not  out  of  weak  sur- 
mises ;  but  from  proof  as  strong  as  my  grief, 
and  as  certain  as  I  expect  my  revenge.  That 
part  thou,  Pisanio,  must  act  for  me,  if  thy  faith 
be  not  tainted  with  the  breach  of  hers.  Let 
thine  own  hands  take  away  her  life :  I  shall  give 
thee  opportunity  at  Milford-Haven :  she  hath 
my  letter  for  the  purpose :  where,  if  thou  fear  to  30 
strike,  and  to  make  me  certain  it  is  done,  thou 
art  the  pandar  to  her  dishonour,  and  equally  to 
me  disloyal.' 

Pis.  What  shall  I  need  to  draw  my  sword  ?  the  paper 
Hath  cut  her  throat  already.     No,  'tis  slander; 
Whose  edge  is  sharper  than  the  sword ;  whose  tongue 
Outvenoms  all  the  worms  of  Nile ;  whose  breath 
Rides  on  the  posting  winds,  and  doth  belie 
All  corners  of  the  world :  kings,  queens,  and  states, 
Maids,  matrons,  nay,  the  secrets  of  the  grave  40 

This  viperous  slander  enters.     What  cheer,  madam  ? 

Imo.  False  to  his  bed !     What  is  it  to  be  false  ? 
To  lie  in  watch  there,  and  to  think  on  him  ? 

80 


CYMBELINE  Act  III.  Sc.  iv. 

To  weep  'twixt  clock  and  clock?   if  sleep  charge  na- 
ture, 
To  break  it  with  a  fearful  dream  of  him, 
And  cry  myself  awake  ?  that 's  false  to  bed,  is  it  ? 

Pis.  Alas,  good  lady ! 

Imo.  I  false !     Thy  conscience  witness  :   lachimo. 
Thou  didst  accuse  him  of  incontinency ; 
Thou  then  look'dst  like  a  villain ;   now,  methinks,  50 
Thy  favour  's  good  enough.     Some  jay  of  Italy, 
Whose  mother  was  her  painting,  hath  betray'd  him : 
Poor  I  am  stale,  a  garment  out  of  fashion ; 
And,  for  I  am  richer  than  to  hang  by  the  walls, 
I  must  be  ripp'd : — to  pieces  with  me ! — O, 
Men's  vows  are  women's  traitors  !     All  good  seeming 
•By  thy  revolt,  O  husband,  shall  be  thought 
Put  on  for  villany ;  not  born  where  't  grows, 
But  worn  a  bait  for  ladies. 

Pis.  Good  madam,  hear  me. 

Imo.  True  honest  men  being  heard,  like  false  /Eneas,    60 
Were  in  his  time  thought  false ;  and  Sinon's  weeping 
Did  scandal  many  a  holy  tear,  took  pity 
From  most  true  wretchedness :   so  thou  Posthumus, 
Wilt  lay  the  leaven  on  all  proper  men ; 
Goodly  and  gallant  shall  be  false  and  perjured 
From  thy  great  fail.     Come,  fellow,  be  thou  honest : 
Do  thou  thy  master's  bidding.     When  thou   see'st 

him, 
A  little  witness  my  obedience.     Look ! 
I  draw  the  sword  myself :   take  it,  and  hit 
The  innocent  mansion  of  my  love,  my  heart :  70 

Fear  not ;   'tis  empty  of  all  things  but  grief : 
Thy  master  is  not  there,  who  was  indeed 
The  riches  of  it.     Do  his  bidding ;   strike. 
Thou  mayst  be  valiant  in  a  better  cause, 

81 


Act  III.  Sc.  iv.  CYMBELINE 

But  now  thou  seem'st  a  coward. 

/  is.  Hence,  vile  instrument ! 

Thou  shalt  not  damn  my  hand. 

Imo.  Why,  I  must  die; 

And  if  I  do  not  by  thy  hand,  thou  art 
No  servant  of  thy  master's.     Against  self-slaughter 
There  is  a  prohibition  so  divine 
That   cravens   my   weak   hand.     Come,    here 's    my 
heart ; —  80 

Something 's    afore  't.     Soft,    soft !     we  '11    no    de- 
fence ; — 
Obedient  as  the  scabbard.     What  is  here? 
The  scriptures  of  the  loyal  Leonatus, 
All  tum'd  to  heresy  ?     Away,  away, 
Corrupters  of  my  faith!   you  shall  no  more 
Be  stomachers  to  my  heart.     Thus  may  poor  fools 
Believe   false  teachers :    though  those  that  are  be- 

tray'd 
Do  feel  the  treason  sharply,  yet  the  traitor 
Stands  in  worse  case  of  woe. 

And  thou,  Posthumus,  thou  that  didst  set  up  90 

My  disobedience  'gainst  the  king  my  father. 
And  made  me  put  into  contempt  the  suits 
Of  princely  fellows,  shalt  hereafter  find 
It  is  no  act  of  common  passage,  but 
A  strain  of  rareness :  and  I  grieve  myself 
To  think,  when  thou  shalt  be  disedged  by  her 
That  now  thou  tirest  on,  how  thy  memory. 
Will  then  be  pang'd  by  me.     Prithee,  dispatch  : 
The  lamb  entreats  the  butcher :   where  's  thy  knife  ? 
Thou  art  too  slow  to  do  thy  master's  bidding,        100 
When  I  desire  it  too. 

Pis.  O  gracious  lady. 

Since  I  received  command  to  do  this  business 
82 


CYMBELINE  Act  III.  Sc.  iv. 

I  have  not  slept  one  wink. 

Imo,  Do  't,  and  to  bed  then. 

Pis.  I  '11  wake  mine  eye-balls  blind  first. 

Imo.  Wherefore  then 

Didst  undertake  it  ?     Why  hast  thou  abused 
So  many  miles  with  a  pretence  ?  this  place  ? 
Mine  action,  and  thine  own  ?  our  horses'  labour  ? 
The  time  inviting  thee?  the  perturb' d  court, 
For  my  being  absent?  whereunto  I  never 
Purpose  return.     W^hy  hast  thou  gone  so  far,        no 
To  be  unbent  when  thou  hast  ta'en  thy  stand, 
The  elected  deer  before  thee? 

Pis.  But  to  w^in  time 

To  lose  so  bad  employment ;   in  the  which 
I  have  consider'd  of  a  coiirse.     Good  lady. 
Hear  me  with  patience. 

Imo.  Talk  thy  tongue  weary ;  speak : 

I  have  heard  I  am  a  strumpet ;  and  mine  ear, 
Therein  false  struck,  can  take  no  greater  wound. 
Nor  tent  to  bottom  that.    But  speak 

Pis.  Then,  madam, 

I  thought  you  would  not  back  again, 

Imo.  Alost  like, 

Bringing  me  here  to  kill  me. 

Pis.  No  so,  neither :  120 

But  if  I  were  as  wise  as  honest,  then 
My  purpose  would  prove  well.     It  cannot  be 
But  that  my  master  is  abused :   some  villain. 
Ay,  and  singular  in  his  art,  hath  done  you  both 
This  cursed  injury. 

Imo.  Some  Roman  courtezan. 

Pis.  No,  on  my  life. 

83 


Act  III.  Sc.  iv.  CYMBELINE 

I  '11  give  but  notice  you  are  dead,  and  send  him 
Some  bloody  sign  of  it ;  for  'tis  commanded 
I  should  do  so :  you  shall  be  miss'd  at  court, 
And  that  will  well  confirm  it. 

Imo.  Why,  good  fellow,   130 

What  shall  I  do  the  while?  where  abide?  how  live? 
Or  in  my  life  what  comfort,  when  I  am 
Dead  to  my  husband  ? 

Pis.  If  you  '11  back  to  the  court — 

Imo.  No  court,  no  father;  nor  no  more  ado 
With  that  harsh,  noble,  simple  nothing. 
That  Cloten,  w^hose  love-suit  hath  been  to  me 
As  fearful  as  a  siege. 

Pis.  If  not  at  court. 

Then  not  in  Britain  must  you  bide. 

Imo.  Where  then  ? 

Hath  Britain  all  the  sun  that  shines  ?     Day,  night, 
Are  they  not  but  in  Britain?     I'  the  world's  vol- 
ume 140 
Our  Britain  seems  as  of  it,  but  not  in  't ; 
In  a  great  pool  a  swan's  nest :  prithee,  think 
There  's  Hvers  out  of  Britain. 

Pis.  I  am  most  glad 

You  think  of  other  place.     The  ambassador, 
Lucius  the  Roman,  comes  to  Milford-Haven 
To-morrow  :  now,  if  you  could  wear  a  mind 
Dark  as  your  fortune  is,  and  but  disguise 
That  which,  to  appear  itself,  must  not  yet  be 
But  by  self-danger,  you  should  tread  a  course 
Pretty  and  full  of  view ;  yea,  haply,  near  150 

The  residence  of  Posthumus ;  so  nigh  at  least 
That  though  his  actions  were  not  visible,  yet 

84 


CYMBELINE  Act  III.  Sc.  iv. 

Report  should  render  him  hourly  to  your  ear 
As  truly  as  he  moves. 

Into.  O,  for  such  means, 

Though  peril  to  my  modesty,  not  death  on  't, 
I  would  adventure! 

Pis.  Well  then,  here  's  the  point : 

You  must  forget  to  be  a  woman  ;  change 
Command  into  obedience ;  fear  and  niceness — 
The  handmaids  of  all  women,  or,  more  truly, 
Woman  it  pretty  self — into  a  waggish  courage ;      i6o 
Ready  in  gibes,  quick-answer'd,  saucy  and 
As  quarrelous  as  the  weasel ;  nay,  you  must 
Forget  that  rarest  treasure  of  your  cheek, 
Exposing  it — but,  O,  the  harder  heart ! 
Alack,  no  remedy ! — to  the  greedy  touch 
Of  common-kissing  Titan,  and  forget 
Your  laboursome  and  dainty  trims,  wherein 
You  made  great  Juno  angry. 

I  mo.  Xay,  be  brief: 

I  see  into  thy  end,  and  am  almost 
A  man  already. 

Pis.  First,  make  yourself  but  like  one.   170 

Fore-thinking  this,  I  have  already  fit — 
'Tis  in  my  cloak-bag — doublet,  hat,  hose,  all 
That  answer  to  them  :  would  you,  in  their  serving 
And  with  what  imitation  you  can  borrow 
From  youth  of  such  a  season,  'fore  noble  Lucius 
Present  yourself,  desire  his  service,  tell  him 
Wherein    you  're   happy, — which   you  '11    make    him 

know. 
If  that  his  head  have  ear  in  music, — doubtless 
With  joy  he  will  embrace  you ;   for  he  's  honourable, 

85 


Actlll.  Sc.  V.  CYMBELINE 

And,  doubling  that,  most  holy.     Your  means  abroad, 
You  have  me,  rich ;  and  I  will  never  fail  i8i 

Beginning  nor  supplyment. 

Imo.  Thou  art  all  the  comfoit 

The  gods  will  diet  me  with.     Prithee,  away : 
There  's  more  to  be  consider'd  ;  but  we  ll  even 
All  that  good  time  will  give  us :  this  attempt 
I  am  soldier  to,  and  will  abide  it  with 
A  prince's  courage.     Away,  I  prithee. 

Pis.  Well,  madam,  we  must  take  a  short  farewell, 
Lest,  being  miss'd,  I  be  suspected  of 
Your  carriage  from  the  court.     My  noble  mistress, 
Here  is  a  box  ;   I  had  it  from  the  queen  :  191 

What 's  in  't  is  precious ;  if  you  are  sick  at  sea. 
Or  stomach-qualm'd  at  land,  a  dram  of  this 
Will  drive  away  distemper.     To  some  shade, 
And  fit  you  to  your  manhood :   may  the  gods 
Direct  you  to  the  best. 

Imo.  Amen :  I  thank  thee.      [Exeunt  severally. 

Scene  V. 

'A  room  in  Cymheline's  palace. 

Enter  Cymheline,  Queen,  Cloten,  Lucius,  and  Lords. 

Cym.  Thus  far ;  and  so  farewell. 

Luc.  Thanks,  royal  sir. 

My  emperor  hath  wrote,  I  must  from  hence ; 

And  am  right  sorry  that  I  must  report  ye 

My  master's  enemy. 
Cym.  Our  subjects,  sir. 

Will  not  endure  his  yoke ;   and  for  ourself 

86 


CYMBELINE  Act  III.  Sc.  v. 

To  show  less  sovereignty  than  they,  must  needs 
Appear  unkingHke. 
l^^ic.  So,  sir  :   I  desire  of  you 

A  conduct  over-land  to  Milford-Haven. 

Madam,  all  joy  befal  your  grace,  and  you! 
Cym.  My  lords,  you  are  appointed  for  that  office  ;  lo 

The  due  of  honour  in  no  point  omit. 

So  farewell,  noble  Lucius. 
]^j^^^  Your  hand,  my  lord. 

Clo.  Receive  it  friendly ;  but  from  this  time  forth 

I  wear  it  as  your  enemy. 
Luc.  Sir,  the  event 

Is  yet  to  name  the  winner :    fare  you  well. 
Cym.  Leave  not  the  worthy  Lucius,  good  my  lords, 

Till  he  have  cross'd  the  Severn.     Happiness ! 

[Exeunt  Lucius  and  Lords. 

Queen.  He  goes  hence  frowning:  but  it  honours  us 

That  we  have  given  him  cause. 
(jIq^  'Tis  all  the  better; 

Your  valiant  Britons  have  their  wishes  in  it.  20 

Cym.  Lucius  hath  wrote  already  to  the  emperor 
How  it  goes  here.     It  fits  us  therefore  ripely 
Our  chariots  and  our  horsemen  be  in  readiness : 
The  powers  that  he  already  hath  in  GaUia 
Will  soon  be  drawn  to  head,  from  whence  he  moves 
His  war  for  Britain. 
Queen.  'Tis  not  sleepy  business. 

But  must  be  look'd  to  speedily  and  strongly. 
Cym.  Our  expectation  that  it  would  be  thus 

Hath  made  us  forward.     But,  my  gentle  queen. 
Where  is  our  daughter?     She  hath  not  appear'd    30 
Before  the  Roman,  nor  to  us  hath  tender'd 
87 


Act  III.  Sc.  V.  CYMBELINE 

The  duty  of  the  day :   she  looks  us  like 
A  thing  more  made  of  malice  than  of  duty : 
We  have  noted  it.     Call  her  before  us,  for 
We  have  been  too  slight  in  sufferance. 

[Exit  an  Attendant. 
Queen.  Royal  sir, 

Since  the  exile  of  Posthumus,  most  retired 
Hath  her  life  been ;   the  cure  whereof,  my  lord, 
'Tis  time  must  do.     Beseech  your  majesty, 
Forbear  sharp  speeches  to  her ;   she  's  a  lady 
So  tender  of  rebukes  that  words  are  strokes,  40 

And  strokes  death  to  her. 

V 

Re-enter  Attendant. 

Cym.  Where  is  she,  sir?     How 

Can  her  contempt  be  answer' d?     . 

Atten.  Please  you,  sir, 

Her  chambers  are  all  lock'd,  and  there  's  no  answer 
That  will  be  given  to  the  loud'st  of  noise  we  make. 

Queen.  My  lord,  when  last  I  went  to  visit  her, 
She  pray'd  me  to  excuse  her  keeping  close ; 
Whereto  constrain'd  by  her  infirmity. 
She  should  that  duty  leave  unpaid  to  you. 
Which  daily  she  was  bound  to  proffer :   this 
She  wish'd  me  to  make  known;   but  our  great 

court  50 

Made  me  to  blame  in  memory. 

Cym.  Her  doors  lock'd? 

Not  seen  of  late  ?     Grant,  heavens,  that  which  I  fear 
Prove  false!  [Exit, 

Queen.  Son,  I  say,  follow  the  king. 

Clo.  That  man  of  hers,  Pisanio,  her  old  servant. 


CYMBELINE  Act  III.  Sc.  v. 

I  have  not  seen  these  two  days. 
Queen,  Go,  look  after. 

[Exit  Clot  en. 
Pisanio,  thou  that  stand'st  so  for  Posthumus ! 
He  hath  a  drug  of  mine ;   I  pray  his  absence 
Proceed  by  swallowing  that ;   for  he  believes 
It  is  a  thing  most  precious.     But  for  her, 
Where  is  she  gone  ?     Haply,  despair  hath  seized  her  ; 
Or,  wing'd  with  fervour  of  her  love,  she  's  flown    6i 
To  her  desired  Posthumus :   gone  she  is 
To  death  or  to  dishonour ,-  and  my  end 
Can  make  good  use  of  either :   she  being  down, 
I  have  the  placing  of  the  British  crown. 

Re-enter  Cloten. 

How  now,  my  son  ! 

Clo.  'Tis  certain  she  is  fled. 

Go  in  and  cheer  the  king :  he  rages  ;  none 
Dare  come  about  him. 

Queen.  [Aside]   All  the  better :  may 

This  night  forestall  him  of  the  coming  day !     [Exit. 

Clo.  I  love  and  hate  her :   for  she  's  fair  and  royal,         70 
And  that  she  hath  all  courtly  parts  more  exquisite 
Than  lady,  ladies,  woman ;   from  every  one 
The  best  she  hath,  and  she,  of  all  compounded. 
Outsells  them  all ;   I  love  her  therefore :  but 
Disdaining  me  and  throwing  favours  on 
The  low  Posthumus  slanders  so  her  judgement 
That  what 's  else  rare  is  choked ;  and  in  that  point 
I  will  conclude  to  hate  her,  nay,  indeed. 
To  be  revenged  upon  her.     For  when  fools 
Shall—  80 

89 


Act  III.  Sc.  V.  GYMBELINE 

Enter  Pisanio. 

Who  is  here  ?    What,  are  you  packing,  sirrah  ? 

Come  hither :  ah,  you  precious  pandar !    Villain, 

Where  is  thy  lady  ?    In  a  word,  or  else 

Thou  art  straightway  with  the  fiends. 
Pis.  O,  good  my  lord! 

Clo.  Where  is  thy  lady  ?  or,  by  Jupiter, — 

I  will  not  ask  again.    Close  villain, 

I  '11  have  this  secret  from  thy  heart,  or  rip 

Thy  heart  to  find  it.    Is  she  with  Posthumus  ? 

From  whose  so  many  weights  of  baseness  cannot 

A  dram  of  worth  be  drawn. 
Pis.  Alas,  my  lord, 

How    can    she    be    with    him?     When    was    she 
miss'd?  90 

He  is  in  Rome. 
Clo,  Where  is  she,  sir  ?     Come  nearer ; 

No  farther  halting :   satisfy  me  home 

What  is  become  of  her. 
Pis.  O,  my  all-worthy  lord ! 
Clo.  All-worthy  villain ! 

Discover  where  thy  mistress  is  at  once, 

At  the  next  word :  no  more  of  '  worthy  lord !  * 

Speak,  or  thy  silence  on  the  instant  is 

Thy  condemnation  and  thy  death. 
Pis.  Then,  sir, 

This  paper  is  the  history  of  my  knowledge 

Touching  her  flight.  [Presenting  a  letter. 

Clo.  Let 's  see  't.     I  will  pursue  her  100 

Even  to  Augustus'  throne. 
Pis.  [Aside]   Or  this,  or  perish. 

She  's  far  enough ;    and  what  he  learns  by  this 

May  prove  his  travel,  not  her  danger. 

90 


CYMBELINE  Act  III.  Sc.  v. 

Clo.  Hum ! 

Pis.    [Aside]   I  '11  write  to  my  lord  she  's  dead.     O 
Imogen, 
Safe  mayst  thou  wander,  safe  return  again! 

Clo.  Sirrah,  is  this  letter  true  ? 

Pis.  Sir,  as  I  think. 

Clo.  It  is  Posthumus'  hand ;  I  know  't.  Sirrah,  if 
thou  wouldst  not  be  a  villain,  but  do  me  true 
service,  undergo  those  employments  wherein  I  no 
should  have  catise  to  use  thee  with  a  serious 
industry,  that  is,  what  villany  soe'er  I  bid  thee 
do,  to  perform  it  directly  and  truly,  I  would 
think  thee  an  honest  man  :  thou  shouldst  neither 
want  my  means  for  thy  relief,  nor  my  voice  for 
thy  preferment. 

Pis.  Well,  my  good  lord. 

Clo.  Wilt  thou  serve  me?    for  since  patiently  and 
constantly  thou  hast  stuck  to  the  bare  fortune 
of  that  beggar  Posthumus,  thou  canst  not,  in  the  120 
course  of  gratitude,  but  be  a  diligent  follower  of 
mine.    Wilt  thou  serve  me  ? 

Pis.  Sir,  I  will. 

Clo.  Give  me  thy  hand ;  here  's  my  purse.  Hast  any 
of  thy  late  master's  garments  in  thy  possession  ? 

Pis.  I  have,  my  lord,  at  my  lodging  the  same  suit  he 
wore  when  he  took  leave  of  my  lady  and  mis- 
tress. 

Clo.  The  first  service  thou  dost  me,  fetch  that  suit  130 
hither :  let  it  be  thy  first  service ;  go. 

Pis.  I  shall,  my  lord.  [Exit. 

Clo.  Meet  thee  at  Milford-Haven ! — I  forgot  to  ask 
him  one  thing ;    I  '11  remember  't  anon  : — even 

91 


Act  III.  Sc.  V  CYMBELINE 

there,  thou  villain  Posthumus,  will  I  kill  thee. 
I  would  these  garments  were  come.  She  said 
upon  a  time — the  bitterness  of  it  I  now  belch 
from  my  heart — that  she  held  the  very  garment 
of  Posthumus  in  more  respect  than  my  noble 
and  natural  person,  together  with  the  adornment  140 
of  my  qualities.  With  that  suit  upon  my  back, 
will  I  ravish  her :  first  kill  him,  and  in  her  eyes ; 
there  shall  she  see  my  valour,  which  will  then  be 
a  torment  to  her  contempt.  He  on  the  ground, 
my  speech  of  insultment  ended  on  his  dead  body, 
and  when  my  lust  hath  dined — which,  as  I  say, 
to  vex  her  I  will  execute  in  the  clothes  that  she 
so  praised — to  the  court  I  '11  knock  her  back, 
foot  her  home  again.  She  hath  despised  me 
rejoicingly,  and  I  '11  be  merry  in  my  revenge.  150 

Re-enter  Pisanio,  ivith  the  clothes. 

Be  those  the  garments  ? 

Pis.  Ay,  my  noble  lord. 

Clo.  How    long    is  't    since    she    went    to    Milford- 
Haven  ? 

FHs.  She  can  scarce  be  there  yet. 

Clo.  Bring  this  apparel  to  my  chamber;  that  is  the 
second  thing  that  I  have  commanded  thee :  the 
third  is,  that  thou  wilt  be  a  voluntary  mute  to 
my  design.  Be  but  duteous,  and  true  prefer- 
ment shall  tender  itself  to  thee.  My  revenge  is 
now  at  Milford :  would  I  had  wings  to  follow  160 
it!    Come,  and  be  true.  [Exit. 

Pis.  Thou  bid'st  me  to  my  loss :   for,  true  to  thee 
Were  to  prove  false,  which  I  will  never  be, 
To  him  that  is  most  true.    To  Milford  go, 

92 


CYMBELINE  Act  III.  Sc.  vi. 

And  find  not  her  whom  thou  pursuest.  Flow,  flow, 
You  heavenly  blessings,  on  her !  This  fool's  speed 
Be  cross'd  with  slowness ;   labour  be  his  meed ! 

[Exit,       ^ 

Wales:  before  the  cave  of  Belariiis. 

Enter  Imogen,  in  hoy's  clothes. 

Imo.  I  see  a  man's  Hfe  is  a  tedious  one:  \  (i'  ^ 

I  have  tired  myself  ;  and  for  two  nights  together 
Have  made  the  ground  my  bed.     I  should  be  sick 
But  that  my  resolution  helps  me.     Milford, 
When  from  the  mountain-top  Pisanio  show'd  thee,     /  /^'""^ 
Thou  wast  within  a  ken  :  O  Jove !  I  think 
Foundations  fly  the  wretched ;   such,  I  mean, 
Where  they  should  be  relieved.    Two  beggars  told 


me 


%^ 

I  could  not  miss  my  way :  will  poor  folks  lie,  l^^(j 

That  have  afflictions  on  them,  knowing  'tis  i^i^ 

A  punishment  or  trial  ?     Yes ;     no  wonder,  \jj^ 

When  rich  ones  scarce  tell  true:   to  lapse  in  fulness  \    ^ 
Is  sorer  than  to  lie  for  need  ;  and  falsehood  Ik*'^ 

Is  worse  in  kings  than  beggars.     My  dear  lord !         \ 
Thou  art  one  o'  the  false  ones :  now  I  think  on  thee,  ^ 
My  hunger  's  gone ;   but  even  before,  I  was 
At  point  to  sink  for  food.     But  what  is  this  ? 
Here  is  a  path  to  't :  'tis  some  savage  hold : 
I  were  best  not  call ;   I  dare  not  call ;  yet  famine, 
Ere  clean  it  o'erthrow  nature,  makes  it  valiant.        20 
Plenty  and  peace  breeds  cowards ;   hardness  ever 
Of  hardiness  is  mother.     Ho !  who  's  here ! 


Act  III.  Sc.  vi.  CYMBELINE 

If  any  thing  that 's  civil,  speak ;  if  savage, 

Take  or  lend.     Ho!     No  answer?  then  I  '11  enter. 

Best  draw  my  sword ;  and  if  mine  enemy 

But  fear  the  sword  like  me,  he  '11  scarcely  look  on  't. 

Such  a  foe,  good  heavens !  [Exit,  to  the  cave. 

Enter  Belarius,  Guiderius,  and  Arviragns. 

Bel,  You,  Polydore,  have  proved  best  woodman  and 
Are  master  of  the  feast :  Cadwal  and  I 
Will  play  the  cook  and  servant ;  'tis  our  match  :     30 
The  swxat  of  industry  would  dry  and  die. 
But  for  the  end  it  works  to.     Come ;  our  stomachs 
Will  make  what 's  homely  savoury :   weariness 
Can  snore  upon  the  flint,  when  resty  sloth 
Finds  the  down  pillow  hard.     Now,  peace  be  here, 
Poor  house,  that  keep'st  thyself ! 

Giii.  I  am  thoroughly  weary. 

Arv.  I  am  weak  with  toil,  yet  strong  in  appetite. 

Qui.  There  is  cold  meat  i'  the  cave ;    we  '11  browse  on 
that. 
Whilst  what  we  have  kill'd  be  cook'd. 

Bel.  [Looking  into  the  cave]   Stay ;   come  not  in. 

But  that  it  eats  our  victuals,  I  should  think  41 

Here  were  a  fairy. 

Qui.  W^hat 's  the  matter,  sir? 

Bel.  By  Jupiter,  an  angel !   or,  if  not, 

An  earthly  paragon  !     Behold  divineness 

No  elder  than  a  boy ! 

Re-enter  Imogen. 

Imo.  Good  masters,  harm  me  not : 

Before  I  enter'd  here,  I  call'd ;   and  thought 

94 


CYMBELINE  Act  III.  Sc.  vi. 

To  have  begg'd  or  bought  what  I  have  took :    good 
troth, 

I  have  stol'n  nought :   nor  would  not,  though  I  had 
found 

Gold   strew'd  i'  the  floor.     Here 's  money   for   my 
meat: 

I  would  have  left  it  on  the  board  so  soon  51 

As  I  had  made  my  meal,  and  parted 

With  prayers  for  the  provider. 
Giii.  Money,  youth? 

Arv.  All  gold  and  silver  rather  turn  to  dirt! 

As  'tis  no  better  reckon'd,  but  of  those 

Who  worship  dirty  gods. 
I  mo.  I  see  you  're  angry : 

Know,  if  you  kill  me  for  my  fault,  I  should 

Have  died  had  I  not  made  it. 
Bel.  Whither  bound? 

I  mo.  To  Milford-Haven. 

Bel.  What's  your  name?  60 

Imo.  Fidele,  sir.     I  have  a  kinsman  who 

Is  bound  for  Italy  ;  he  embark'd  at  Milford  ; 

To  whom  being  going,  almost  spent  with  hunger, 

I  am  fall'n  in  this  offence. 
Bel.  Prithee,  fair  youth, 

Think  us  no  churls,  nor  measure  our  good  minds 

By  this  rude  place  we  live  in.     Well  encounter'd ! 

'Tis  almost  night :  you  shall  have  better  cheer 

Ere  you  depart :   and  thanks  to  stay  and  eat  it. 

Boys,  bid  him  welcome. 
Gtii.  Were  you  a  woman,  youth, 

I  should  woo  hard  but  be  your  groom.     In  honesty, 

I  bid  for  you  as  I  'Id  buy. 
Arv.  I  '11  make  't  my  comfort    71 

He  is  a  man ;  I  '11  love  him  as  my  brother : 

95 


Act  III.  Sc.  vi.  CYMBELINE 

And  such  a  welcome  as  I  'Id  give  to  him 

After  long  absence,  such  is  yours  :   most  welcome ! 

Be  sprightly,  for  you  fall  'mongst  friends. 

Into.  'Mongst  friends. 

If  brothers.   [Aside]   Would  it  had  been  so,  that  they 
Had  been  my  father's  sons !  then  had  my  prize 
Been  less,  and  so  more  equal  ballasting 
To  thee,  Posthumus. 

Bel.  He  wrings  at  some  distress. 

Gui.  Would  I  could  free  't ! 

Arv,  Or  I ;   whate'er  it  be,  80 

What  pain  it  cost,  what  danger !     Gods ! 

BeL  Hark,  boys. 

[  Whispering. 

Into.  Great  men. 

That  had  a  court  no  bigger  than  this  cave, 
That  did  attend  themselves  and  had  the  virtue 
Which  their  own  conscience  seal'd  them — laying  by 
That  nothing-gift  of  differing  multitudes — 
Could  not  out-peer  these  twain.     Pardon  me,  gods ! 
I  'Id  change  my  sex  to  be  companion  with  them, 
Since  Leonatus'  false. 

Bel.  It  shall  be  so. 

Boys,  we  '11  go  dress  our  hunt.     Fair  youth,  come  in : 
Discourse  is  heavy,  fasting ;  when  we  have  supp'd,  91 
We  '11  mannerly  demand  thee  of  thy  story, 
So  far  as  thou  wilt  speak  it. 

Gui.  Pray,  draw  near. 

Arv.  The  night  to  the  owl  and  morn  to  the  lark  less  wel- 
come. 

Imo.  Thanks,  sir. 

Arv.  I  pray,  draw  near.  [Exeunt 

96 


CYMBELINE  Act  IV.  Sc.  i. 

Scene  VII. 

Rome.     A  public  place. 
Enter  tzvo  Senators  and  Tribunes. 

First  Sen.  This  is  the  tenour  of  the  emperor's  writ : 
That  since  the  common  men  are  now  in  action 
'Gainst  the  Pannonians  and  Dalmatians, 
And  that  the  legions  now  in  Gallia  are 
Full  weak  to  undertake  our  wars  against 
The  fall'n-off  Britons,  that  we  do  incite 
The  gentry  to  this  business.     He  creates 
Lucius  proconsul ;   and  to  you  the  tribunes, 
For  this  immediate  levy,  he  commends 
His  absolute  commission.     Long  live  Caesar !  lo 

First  Tri.  Is  Lucius  general  of  the  forces? 

Sec.  Sen.  Ay. 

First  Tri.  Remaining  now  in  Gallia  ? 

First  Sen.  With  those  legions 

Which  I  have  spoke  of,  whereunto  your  levy 
Must  be  supplyant :  the  words  of  your  commission 
Will  tie  you  to  the  numbers  and  the  time 
Of  their  dispatch. 

First  Tri.  We  will  discharge  our  duty.    [Exeunt. 

ACT  FOURTH. 

Scene  I. 

Wales:    near  the  cave  of  Belarius. 

Enter  Cloten  alone. 

% 

Clo.  I  am  near  to  the  place  where  they  should  meet, 
if  Pisanio  have  mapped  it  truly.  How  fit  his 
garments  serve  me!     Why  should  his  mistress, 

97 


Act  IV.  Sc.  ii.  CYMBELINE 

who  was  made  by  him  that  made  the  tailor,  not 
be  fit  too?  the  rather — saving  reverence  of  the 
word — for  'tis  said  a  woman's  fitness  comes  by 
fits.  Therein  I  must  play  the  workman.  I  dare 
'  speak  it  to  myself — for  it  is  not  vain-glory  for 
a  man  and  his  glass  to  confer  in  his  own  cham- 
ber— ^I  mean,  the  lines  of  my  body  are  as  well  lo 
drawn  as  his ;  no  less  3^oung,  more  strong,  not 
beneath  him  in  fortunes,  beyond  him  in  the  ad- 
vantage of  the  time,  above  him  in  birth,  alike 
conversant  in  general  services,  and  more  re- 
markable in  single  oppositions :  yet  this  imper- 
ceiverant  thing  loves  him  in  my  despite.  What 
mortality  is !  Posthumus,  thy  head,  wdiich  now 
is  grovvang  upon  thy  shoulders,  shall  within  this 
hour  be  off;  thy  mistress  enforced;  thy  gar- 
ments cut  to  pieces  before  thy  face ;  and  all  this  20 
done,  spurn  her  home  to  her  father;  who  may 
haply  be  a  little  angry  for  my  so  rough  usage; 
but  my  mother,  having  power  of  his  testiness, 
shall  turn  all  into  my  commendations.  My 
horse  is  tied  up  safe :  out,  sword,  and  to  a  sore 
purpose!  Fortune,  put  them  into  my  handl 
This  is  the  very  description  of  their  meeting- 
place  ;  and  the  fellow  dares  not  deceive  me.       [Exit. 

Scene  II. 

Before  the  cave  of  Belarhis. 

Enter,  from  the  cave,  Belariiis,  Giiiderius,  Arviragus,  and 
-  Imogen. 

Bel.    {To  Imogen]   You  are  not  well:   remain  here  in  the 
cave; 
We  '11  come  to  you  after  hunting. 

98 


CYMBELINE  Act  IV.  Sc.  ii. 

Arv.  [To  Imogen]   Brother,  stay  here: 

Are  we  not  brothers  ? 

Itno.  So  man  and  man  should  be ; 

But  clay  and  clay  differs  in  dignity, 
Whose  dust  is  both  alike.     I  am  very  sick. 

Gui.  Go  you  to  hunting ;   I  '11  abide  with  him. 

Imo.  So  sick  I  am  not,  yet  I  am  not  well ; 
But  not  so  citizen  a  wanton  as 
To  seem  to  die  ere  sick :   so  please  you,  leave  me ; 
Stick  to  your  journal  course  :  the  breach  of  custom 
Is  breach  of  all.     I  am  ill,  but  your  being  by  me'ii 
Cannot  amend  me :   society  is  no  comfort 
To  one  not  sociable :   I  am  not  very  sick, 
Since  I  can  reason  of  it.     Pray  you,  trust  me  here : 
I  '11  rob  none  but  myself ;   and  let  me  die, 
Stealing  so  poorly. 

Gui.  I  love  thee  ;   I  have  spoke  it : 

How  much  the  quantity,  the  weight  as  much. 
As  I  do  love  my  father. 

Bel  What!   how!   how! 

Arv.  If  it  be  sin  to  say  so,  sir,  I  yoke  me 

In  my  good  brother's  fault :   I  know  not  why  20 

I  love  this  youth ;   and  I  have  heard  you  say. 
Love's  reason  's  without  reason :   the  bier  at  door 
And  a  demand  who  is  't  shall  die,  I  'Id  say 
'  My  father,  not  this  youth.' 

Bel  [Aside]   O  noble  strain  ! 

0  worthiness  of  nature !  breed  of  greatness  ! 
Cowards  father  cowards  and  base  things  sire  base  : 
Nature  hath  meal  and  bran,  contempt  and  grace. 

1  'm  not  their  father ;  yet  who  this  should  be, 
Doth  miracle  itself,  loved  before  me. — 

99 


Act  IV.  Sc.  ii.  CYMBELINE 

'Tis  the  ninth  hour  o'  the  morn. 
Arz'.  Brother,  farewell.     30 

I  mo.  I  wish  ye  sport. 

Arz'.  You  health.     So  please  you,  sir. 

Imo.    [Aside]   These  are  kind  creatures.     Gods,  wdiat  lies 
I  have  heard ! 

Our  courtiers  say  all 's  savage  but  at  court : 

Experience,  O,  thou  disprovest  report ! 

The  imperious  seas  breed  monsters ;   for  the  dish 

Poor  tributary  rivers  as  sweet  fish. 

I  am  sick  still,  heart-sick.     Pisanio, 

I  '11  now  taste  of  thy  drug.  [Szuallozcs  some. 

Giii.  I  could  not  stir  him : 

He  said  he  was  gentle,  but  unfortunate ; 

Dishonestly  afflicted,  but  yet  honest.  40 

Arv.  Thus  did  he  answer  me :   yet  said,  hereafter 

I  might  know  more. 
Bel.  To  the  field,  to  the  field ! 

We  '11  leave  you  for  this  time :  go  in  and  rest. 
Arv.  We  '11  not  be  long  away. 
Bel.  Pray,  be  not  sick, 

For  you  must  be  our  housewife. 
Imo.  Well  or  ill, 

I  am  bound  to  you. 
Bel.  And  shalt  be  ever. 

[Exit  Imogen,  to  the  cave. 

This  youth,  howe'er  distress'd,  appears  he  hath  had 

Good  ancestors. 
Arv.  How  angel-like  he  sings  ! 

Gui.  But  his  neat  cookery !  he  cut  our  roots 

In  characters ; 

And  sauced  our  broths,  as  Juno  had  been  sick,        50 

100 


CYMBELINE  Act  IV.  Sc.  ii. 

And  he  her  dieter. 
Arv.  Nobly  he  yokes 

A  smiling  with  a  sigh,  as  if  the  sigh 

Was  that  it  was,  for  not  being  such  a  smile ; 

The  smile  mocking  the  sigh,  that  it  would  fly 

From  so  divine  a  temple,  to  commix 

With  winds  that  sailors  rail  at. 
Gui.  I  do  note 

That  grief  and  patience,  rooted  in  him  both, 

Mingle  their  spurs  together. 
Ayy^  Grow,  patience ! 

And  let  the  stinking  elder,  grief,  untwine 

His  perishing  root  with  the  increasing  vine !  60 

Bel.  It  is  great  morning.    Come,  away ! — Who  's  there? 

Enter  Cloten. 

Clo.  I  cannot  find  those  runagates  ;  that  villain 

Hath  mock'd  me :  I  am  faint. 
Q0I  '  Those  runagates ! ' 

Means  he  not  us  ?    I  partly  know  him  ;  'tis 

Cloten,  the  son  o'  the  queen.    I  fear  some  ambush. 

I  saw  him  not  these  many  years,  and  yet 

I  know  'tis  he.    We  are  held  as  outlaws  :  hence ! 
Giii,  He  is  but  one :  you  and  my  brother  search 

What  companies  are  near :  pray  you,  away ; 

Let  me  alone  with  him. 

[Exeunt  Belarius  and  Arviragiis. 

do.  Soft !    What  are  you  70 

That  fly  me  thus  ?   some  villain  mountaineers  ? 
I  have  heard  of  such.    What  slave  art  thou  ? 

Gui.  .  A  thing 

More  slavish  did  I  ne'er  than  answermg 

lOI 


Act  IV.  Sc.  ii.  CYMBELINE 

A  slave  without  a  knock. 
Clo.  Thou  art  a  robber, 

A  law-breaker,  a  villain  :   yield  thee,  thief. 
Giii.  To  who  ?  to  thee  ?    What  art  thou  ?    Have  not  I 

An  arm  as  big  as  thine?  a  heart  as  big? 

Thy  words,  I  grant,  are  bigger ;  for  I  wear  not 

My  dagger  in  my  mouth.    Say  what  thou  art, 

Why  I  should  yield  to  thee. 
Clo.  Thou  villain  base,  80 

Know'st  me  not  by  my  clothes  ? 
Gui.  No,  nor  thy  tailor,  rascal. 

Who  is  thy  grandfather :  he  made  those  clothes. 

Which,  as  it  seems,  make  thee. 
Clo.  Thou  precious  varlet. 

My  tailor  made  them  not. 
Gui.  Hence  then,  and  thank 

The  man  that  gave  them  thee.    Thou  art  some  fool ; 

I  am  loath  to  beat  thee. 
Clo.  Thou  injurious  thief, 

Hear  but  my  name,  and  tremble. 
Gui.  What 's  thy  name? 

Clo.  Cloten,  thou  villain. 
Gui.  Cloten,  thou  double  villain,  be  thy  name,  89 

I  cannot  tremble  at  it :  were  it  Toad,  or  Adder,  Spider, 

'T would  move  me  sooner. 
Clo.  To  thy  further  fear. 

Nay,  to  thy  mere  confusion,  thou  shalt  know 

I  am  son  to  the  queen. 
Gui.  I  am  sorry  for  't :   not  seeming 

So  worthy  as  thy  birth. 
Clo.  Art  not  af card  ? 

Gid.  Those  that  I  reverence,  those  I  fear,  the  wise : 

102 


CYMBELINE  Act  IV.  Sc.  ii. 

At  fools  I  laugh,  not  fear  them. 
Clo.  Die  the  death  : 

When  I  have  slain  thee  with  my  proper  hand, 
I  '11  follow  those  that  even  now  fled  hence. 
And  on  the  gates  of  Lud's  town  set  your  heads : 
Yield,  rustic  mountaineer.        [Exeunt,  fighting.     loo 

Re-enter  Belavius  and  Arziragus. 

Bel.  No  companies  abroad? 

Arz'.  None  in  the  world  :  you  did  mistake  him,  sure. 

Bel.  I  cannot  tell :   long  is  it  since  I  saw  him, 

But  time  hath  nothing  blurr'd  those  lines  of  favour 
Which  then  he  wore ;  the  snatches  in  his  voice. 
And  burst  of  peaking,  were  as  his :   I  am  absolute 
'Twas  very  Cloten. 

Arv,  In  this  place  we  left  them : 

I  wish  my  brother  make  good  time  with  him, 
You  say  he  is  so  fell. 

Bel.  Being  scarce  made  up, 

I  mean,  to  man,  he  had  not  apprehension  no 

Of  roaring  terrors  :   for  defect  of  judgement 
Is -oft  the  cause  of  fear.    But  see,  thy  brother. 

Re-enter  Guiderius,  z^'ith  Cloten's  head. 

Giii.  This  Cloten  was  a  fool,  an  empty  purse ; 
There  was  no  money  in  't :  not  Hercules 
Could  have  knocked  out  his  brains,  for  he  had  none : 
Yet  I  not  doing  this,  the  fool  had  borne 
My  head  as  I  do  his. 

Bel.      '  What  hast  thou  done? 

Qui.  I  am  perfect  what:   cut  off  one  Cloten's  head. 
Son  to  the  queen,  after  his  own  report ; 
103 


Act  IV.  Sc.  ii.  CYMBELINE 

Who  call'd  me  traitor,  mountaineer ;   and  swore,   120 
With  his  own  single  hand  he  'Id  take  us  in. 
Displace  our  heads  where — thank  the  gods  ! — they 

grow. 
And  set  them  on  Lud's  town. 

Bel.  We  are  all  undone. 

Gui.  Why,  worthy  father,  what  have  we  to  lose, 
But  that  he  swore  to  take,  our  lives  ?    The  law 
Protects  not  us :  then  why  should  we  be  tender 
To  let  an  arrogant  piece  of  flesh  threat  us. 
Play  judge  and  executioner,  all  himself, 
For  we  do  fear  the  law  ?    What  company 
Discover  you  abroad  ? 

Bel.  No  single  soul  130 

Can  we  set  eye  on  ;  but  in  all  safe  reason 
He  must  have  some  attendants.    Though  his  humour 
Was  nothing  but  mutation,  ay,  and  that 
From  one  bad  thing  to  worse,  not  frenzy,  not 
Absolute  madness  could  so  far  have  raved, 
To  bring  him  here  alone :  although  perhaps 
It  may  be  heard  at  court  that  such  as  we 
Cave  here,  hunt  here,  are  outlaws,  and  in  time 
May  make  some  stronger  head;   the  which  he  hear- 
ing— 
As  it  is  like  him — might  break  out,  and  swear        140 
He  'Id  fetch  us  in ;  yet  is  't  not  probable 
To  come  alone,  either  he  so  undertaking, 
Or  they  so  suffering :  then  on  good  ground  we  fear, 
If  we  do  fear  this  body  hath  a  tail 
More  perilous  than  the  head. 

Arv.  Let  ordinance 

Come  as  the  gods  foresay  it :  howsoe'er, 
104 


CYMBELINE  Act  IV.  Sc.  ii. 

My  brother  hath  done  well. 
Bel.  I  had  no  mind 

To  hunt  this  day :  the  boy  Fidele's  sickness 

Did  make  my  way  long  forth. 
Giii.  With  his  own  sword, 

Which  he  did  wave  against  my  throat,  I  have  ta'en 

His  head  from  him  :  I '11  throw 't  into  the  creek      151 

Behind  our  rock,  and  let  it  to  the  sea, 

And  tell  the  fishes  he  's  the  queen's  son,  Cloten  : 

That 's  all  I  reck.  [Exit. 

Bel.  I  fear  'twill  be  revenged : 

Would,   Polydore,  thou  hadst  not  done  't !    though 
valour 

Becomes  thee  well  enough. 
Arv.  Would  I  had  done  't. 

So  the  revenge  alone  pursued  me !     Polydore, 

I  love  thee  brotherly,  but  envy  much 

Thou   hast   robb'd  me   of  this   deed :    I   would   re- 
venges, 1 59 

That  possible  strength  might  meet,   would  seek  us 
through 

And  put  us  to  our  answer. 
Bel.  Well,  'tis  done : 

We  '11  hunt  no  more  to-day,  nor  seek  for  danger 

Where  there  's  no  profit.    I  prithee,  to  our  rock ; 

You  and  Fidele  play  the  cooks  :  I  '11  stay 

Till  hasty  Polydore  return,  and  bring  him 

To  dinner  presently. 
Arv.  Poor  sick  Fidele  ! 

I  '11  willingly  to  him  :  to  gain  his  colour 

I  'Id  let  a  parish  of  such  Clotens  blood, 

And  praise  myself  for  charity.  [Exit. 

Bel.  O  thou  goddess, 

105 


Act  IV.  Sc.  ii.  CYMBELINE 

Thou  divine  Nature,  how  thyself  thou  blazon'st     17^ 

In  these  two  princely  boys  !    They  are  as  gentle 

As  zephyrs  blowing  below  the  violet, 

Not  wagging  his  sweet  head ;  and  yet  as  rough. 

Their  royal  blood  enchafed,  as  the  rudest  wind 

That  by  the  top  doth  take  the  mountain  pine 

And  make  him  stoop  to  the  vale.    'Tis  wonder 

That  an  invisible  instinct  should  frame  them    , 

To  royalty  unlearn'd,  honour  untaught. 

Civility  not  seen  from  other,  valour 

That  wildly  grows  in  them,  but  yields  a  crop  i8o 

As  if  it  had  been  sow'd.    Yet  still  it 's  strange 

What  Cloten's  being  here  to  us  portends. 

Or  what  his  death  will  bring  us. 

Re-enter  Giiiderius. 

Gui.  Where  's  my  brother  ? 

I  have  sent  Cloten's  clotpoU  down  the  stream. 
In  embassy  to  his  mother :  his  body's  hostage 
For  his  return.  [Solemn  music. 

Bel.  ]\Iy  ingenious  instrument ! 

Hark,  Polydore,  it  sounds !    But  what  occasion 
Hath  Cadwal  now  to  give  it  motion  ?    Hark ! 

Gui.  Is  he  at  home  ? 

Bel.  He  went  hence  even  now. 

Gui.  What  does  he  mean?     Since  death  of  my  dear'st 
mother  190 

It  did  not  speak  before.    All  solemn  things 
Should  answer  solemn  accidents.     The  matter? 
Triumphs  for  nothing  and  lamenting  toys 
Is  jollity  for  apes  and  grief  for  boys. 
Is  Cadwal  mad  ? 

106 


CYMBELINE  Act  IV.  Sc.  ii. 

Re-enter  Arziragiis  zvith  Imogen,  as  dead,  bearing  her 
in  his  arms. 

^^l  Look,  here  he  comes, 

And  brings  the  dire  occasion  in  his  arms 
Of  what  we  blame  him  for ! 
^^^^  The  bird  is  dead 

That  we  have  made  so  much  on.    I  had  rather 
Have  skipp'd  from  sixteen  years  of  age  to  sixty, 
To  have  turn'd  my  leaping-time  into  a  crutch,        200 
Than  have  seen  this. 
Gni.  O  sweetest,  fairest  Uly ! 

My  brother  wears  thee  not  the  one  half  so  well 
As  when  thou  grew'st  thyself. 

Q^l  O  melancholy ! 

Who  ever  yet  could  sound  thy  bottom  ?  find 
The  ooze,  to  show  what  coast  thy  sluggish  crare 
Might  easiliest  harbour  in  ?    Thou  blessed  thing ! 
Jove  knows  what  man  thou  mightst  have  made  ;  but  I, 
Thou  diedst,  a  most  rare  boy,  of  melancholy. 
How  found  you  him  ? 

jrv.  Stark,  as  you  see : 

Thus  smiling,  as  some  fly  had  tickled  slumber,  210 
Not  as  death's  dart,  being  laugh'd  at ;  his  right  cheek 
Reposing  on  a  cushion. 

Giti.  Where? 

^^^^  O'  the  floor ; 

His  arms  thus  leagued  :   I  thought  he  slept,  and  put 
My  clouted  brogues  from  off  my  feet,  whose  rudeness 
Answer' d  my  steps  too  loud. 

Q^l  Why,  he  but  sleeps : 

If  he  be  gone,  he  '11  m.ake  his  grave  a  bed ; 
107 


Act  IV.  Sc.  ii.  CYMBELINE 

With  female  fairies  will  his  tomb  be  haunted, 
And  worms  will  not  come  to  thee. 

Arv.  With  fairest  flowers, 

Whilst  summer  lasts,  and  I  live  here,  Fidele, 
I  '11  sweeten  thy  sad  grave  :  thou  shalt  not  lack      220 
The  flower  that 's  like  thy  face,  pale  primrose,  nor 
The  azured  harebell,  like  thy  veins ;  no,  nor 
The  leaf  of  eglantine,  whom  not  to  slander, 
Out-sweeten'd  not  thy  breath  :  the  ruddock  would 
With  charitable  bill — O  bill,  sore  shaming 
Those  rich-left  heirs  that  let  their  fathers  li^ 
Without  a  monument ! — bring  thee  all  this  ; 
Yea,  and  furr'd  moss  besides,  when  flowers  are  none, 
To  winter-ground  thy  corse. 

Giii.  Prithee,  have  done  ; 

And  do  not  play  in  wench-like  words  with  that      230 
Which  is  so  serious.     Let  us  bury  him. 
And  not  protract  with  admiration  what 
Is  now  due  debt.    To  the  grave ! 

Arv.  Say,  where  shall 's  lay  him? 

Gui.  By  good  Euriphile,  our  mother. 

Arv.  Be  't  so : 

And  let  us,  Polydore,  though  now  our  voices 
Have  got  the  mannish  crack,  sing  him  to  the  ground, 
As  once  our  mother ;  use  like  note  and  words. 
Save  that '  Euriphile  '  must  be  '  Fidele.' 

Gui.  Cadwal, 

I  cannot  sing :  I  '11  weep,  and  word  it  with  thee :  240 
For  notes  of  sorrow  out  of  tune  are  worse 
Than  priests  and  fanes  that  lie. 

Arv.  We  '11  speak  it  then. 

Bel.  Great  griefs,  I  see,  medicine  the  less ;    for  Cloten 

108 


CYMBELINE  Act  IV.  Sc.  ii. 

Is  quite  forgot.    He  was  a  queen's  son,  boys : 

And  though  he  came  our  enemy,  remember 

He  was  paid  for  that :    though  mean  and  mighty, 

rotting 
Together,  have  one  dust,  yet  reverence, 
That  angel  of  the  world,  doth  make  distinction 
Of  place  'tween  high  and  low.    Our  foe  was  princely  ; 
And  though  you  took  his  life  as  being  our  foe,      250 
Yet  bury  him  as  a  prince. 

Giii.  Pray  you,  fetch  him  hither, 

Thersites'  body  is  as  good  as  Ajax', 
When  neither  are  alive. 

Arv.  If  you  '11  go  fetch  him, 

We  '11  say  our  song  the  whilst.    Brother,  begin. 

[Exit  Belarius. 

Gid.  Nay,  Cadwal,  we  must  lay  his  head  to  the  east ; 
My  father  hath  a  reason  for  't. 

Arv.  'Tis  true. 

Giii.  Come  on  then  and  remove  him. 

Arv.  So.    Begin. 

Song. 

lt  Qui.  Fear  no  more  the  heat  o'  the  sun, 

Nor  the  furious  winter's  rages ; 
Thou  thy  worldly  task  hast  done,  260 

Home  art  gone  and  ta'en  thy  wages : 
Golden  lads  and  girls  all  must, 
As  chimney-sweepers,  come  to  dust. 

Arv.         Fear  no  more  the  frown  o'  the  great ; 
Thou  art  past  the  tyrant's  stroke ; 
Care  no  more  to  clothe  and  eat ; 
To  thee  the  reed  is  as  the  oak : 
109 


Act  IV.  Sc.  ii.  CYMBELINE 

The  sceptre,  learning",  physic,  must 
All  follow  this  and  come  to  dust. 

Gui.  Fear  no  more  the  lightning-flash,  270 

Arv.  Nor  the  all-dreaded  thunder-stone; 

Gui.  Fear  not  slander,  censure  rash; 

Arv.  Thou  hast  finish'd  joy  and  moan : 

Both.       All  lovers  young,  all  lovers  must 
Consign  to  thee  and  come  to  dust. 

Gui.  No  exorciser  harm  thee! 

Arv.         Nor  no  witchcraft  charm  thee ! 
Gui.  Ghost  unlaid  forbear  thee! 

Arv.         Nothing  ill  come  near  thee ! 
Both.        Quiet  consummation  have;  280 

And  renowned  be  thy  grave ! 

Re-enter  Belarius  zvith  the  body  of  Cloten. 

Gui.  We  have  done  our  obsequies  :   come  lay  him  down. 

Bel.  Here  's  a  few  flowers,  but  'bout  midnight  more : 
The  herbs  that  have  on  them  cold  dew  o'  the  night 
Are  strewings  fitt'st  for  graves.    Upon  their  faces. 
You  were  as  flowers,  now  withered :  even  so 
These  herblets  shall,  which  we  upon  you  strow.  ^ 

Come  on,  away :   apart  upon  our  knees. 
The  ground  that  gave  them  first  has  them  again : 
Their  pleasures  here  are  past,  so  is  their  pain.  290 

[Exeunt  Belarius,  Gnideriiis,  and  Arviragiis. 

Into,    [Azvaking]   Yes,  sir,  to  Milford-Haven ;    which  is 
the  way  ? — 
I    thank    you. — By    yond    bush? — Pray,    how    far 

thither  ? 
'Ods  pittikins  !   can  it  be  six  mile  yet  ? — 
I  have  gone  all  night :   faith,  I  '11  lie  down  and  sleep. 

no 


CYMBELINE  Act  IV.  Sc.  ii. 

But,  soft !   no  bedfellow  !   O  gods  and  goddesses  ! 

[Seeing  the  body  of  Cloten. 
These  flowers  are  like  the  pleasures  of  the  world ; 
This  bloody  man,  the  care  on  't.     I  hope  I  dream ; 
For  so  I  thought  I  was  a  cave-keeper, 
And  cook  to  honest  creatures  :  but  'tis  not  so  ; 
'Twas  but  a  bolt  of  nothing,  shot  at  nothing,  300 

Which  the  brain  makes  of  fumes  :  our  very  eyes 
Are  sometimes   like  our  judgements,   blind.     Good 

faith, 
I  tremble  still  with  fear  :  but  if  there  be 
Yet  left  in  heaven  as  small  a  drop  of  pity 
As  a  wren's  eye,  f ear'd  gods,  a  part  of  it ! 
The  dream  's  here  still :   even  when  I  wake,  it  is 
Without  me,  as  within  me :  not  imagined,  felt. 
A  headless  man  !    The  garments  of  Posthumus  ! 
I  know  the  shape  of  's  leg :  this  is  his  hand ; 
His  foot  Mercurial;  his  Martial  thigh;  310 

The  brawns  of  Hercules  :  but  his  jovial  face — 
Murder  in  heaven  ? — How  ! — 'Tis  gone.    Pisanio, 
All  curses  madded  Hecuba  gave  the  Greeks, 
And  mine  to  boot,  be  darted  on  thee !    Thou, 
Conspired  with  that  irregulous  devil,  Cloten, 
Hast  here  cut  off  my  lord.    To  write  and  read 
Be  henceforth  treacherous  !     Damn'd  Pisanio 
Hath  with  his  forged  letters — damn'd  Pisanio — 
From  this  most  bravest  vessel  of  the  world 
Struck  the  main-top  !    O  Posthumus  !   alas,  320 

Where  is  thy  head  ?    where  's  that  ?     Ay  me ! 

where  's  that  ? 
Pisanio  might  have  kill'd  thee  at  the  heart 
And  left  this  head  on.    How  should  this  be  ?  Pisanio  ? 
Ill 


Act  IV.  Sc.  ii.  CYMBELINE 

'Tis  he  and  Cloten :  malice  and  lucre  in  them 

Have  laid  this  woe  here.    O,  'tis  pregnant,  pregnant  1 

The  drug  he  gave  me,  which  he  said  was  precious 

And  cordial  to  me,  have  I  not  found  it 

Murderous  to  the  senses  ?    That  confirms  it  home  : 

This  is  Pisanio's  deed,  and  Cloten's :   O ! 

Give  colour  to  my  pale  cheek  with  thy  blood,  330 

That  we  the  horrider  may  seem  to  those 

Which  chance  to  find  us  :   O,  my  lord,  my  lord ! 

[Falls  on  the  body. 

Enter  Lucius,  a  Captain  and  other  Officers,  and  a 
Soothsayer. 

Cap.  To  them  the  legions  garrison'd  in  Gallia 

After  your  will  have  cross'd  the  sea,  attending 
You  here  at  Milf ord-Haven  jv^ith  your  ships : 
They  are  in  readiness. 

Luc.  But  what  from  Rome? 

Cap.  The  senate  hath  stirr'd  up  the  confiners 

And  gentlemen  of  Italy,  most  willing  spirits 
That  promise  noble  service :  and  they  come 
Under  the  conduct  of  bold  lachimo,  340 

Syenna's  brother. 

Luc,  When  expect  you  them  ? 

Cap.  With  the  next  benefit  o'  the  wind. 

Luc.  This  forwardness 

Makes  our  hopes  fair.     Command  our  present  num- 
bers 
Be  muster'd  ;  bid  the  captains  look  to  't.    Now,  sir, 
What  have  you  dream'd  of  late  of  this  war's  purpose? 

Sooth.  Last  night  the  very  gods  show'd  me  a  vision — 
I  fast  and  pray'd  for  their  intelligence — thus : 
I  saw  Jove's  bird,  the  Roman  eagle,  wing'd 
From  the  spongy  south  to  this  part  of  the  west,      349 
112 


CYMBELINE  Act  IV.  Sc.  ii. 

There  vanish'd  in  the  sunbeams :  which  portends — 
Unless  my  sins  abuse  my  divination — 
Success  to  the  Roman  host. 

Luc.  Dream  often  so, 

And  never  false.    Soft,  ho  !   what  trunk  is  here 

Without  his  top  ?    The  ruin  speaks  that  sometime 

It  was  a  worthy  building.    How  !  a  page  ! 

Or  dead,  or  sleeping  on  him  ?    But  dead  rather ; 

For  nature  doth  abhor  to  make  his  bed 

With  the  defunct,  or  sleep  upon  the  dead. 

Let 's  see  the  boy's  face. 

Cap.  He  's  alive,  my  lord. 

Luc.  He  '11  then  instruct  us  of  this  body.    Young  one,  360 
Inform  us  of  thy  fortunes,  for  it  seems 
They  crave  to  be  demanded.    Who  is  this 
Thou  makest  thy  bloody  pillow  ?    Or  who  was  he 
That,  otherwise  than  noble  nature  did. 
Hath  alter'd  that  good  picture?    What 's  thy  interest 
In  this  sad  wreck  ?    How  came  it  ?    Who  is  it  ? 
What  art  thou  ? 

Into.  I  am  nothing:   or  if  not, 

Nothing  to  be  were  better.    This  was  my  master, 

A  very  vaUant  Briton  and  a  good. 

That  here  by  mountaineers  hes  slain.    Alas  !  3/0 

There  is  no  more  such  masters  :  I  may  wander 

From  east  to  Occident,  cry  out  for  service. 

Try  many,  all  good,  serve  truly,  never 

Find  such  another  master. 

Luc.  'Lack,  good  youth ! 

Thou  movest  no  less  with  thy  complaining  than 
Thy  master  in  bleeding :  say  his  name,  good  friend. 

Imo.  Richard  du  Champ.     [Aside}     If  I  do  He,  and  do 

113 


Act  IV.  Sc.  ii.  CYMBELINE 

No  harm  by  it,  though  the  gods  hear,  I  hope 
They  '11  pardon  it.    Say  you,  sir  ? 

Luc.  Thy  name  ? 

Imo.  Fidele,  sir. 

Luc.  Thou  dost  approve  thyself  the  very  same :  380 

Thy  name  well  fits  thy  faith,  thy  faith  thy  name. 
Wilt  take  thy  chance  with  me  ?    I  will  not  say 
Thou  shalt  be  so  well  master'd,  but  be  sure. 
No  less  beloved.    The  Roman  emperor's  letters 
Sent  by  a  consul  to  me  should  not  sooner 
Than  thine  own  worth  prefer  thee :  go  with  me. 

Lino.  I  '11  follow,  sir.    But  first,  an  't  please  the  gods, 
I  '11  hide  my  master  from  the  flies,  as  deep 
As  these  poor  pickaxes  can  dig :   and  when 
With  wild  wood-leaves  and  weeds  I  ha'  strew'd  his 
grave  390 

And  on  it  said  a  century  of  prayers, 
Such  as  I  can,  twice  o'er,  I  '11  weep  and  sigh, 
And  leaving  so  his  service,  follow  you. 
So  please  you  entertain  me. 

Luc.  Ay,  good  youth  ; 

And  rather  father  thee  than  master  thee. 
My  friends. 

The  boy  hath  taught  us  manly  duties :   let  us 
Find  out  the  prettiest  daisied  plot  we  can. 
And  make  him  with  our  pikes  and  partisans 
A  grave :  come,  arm  him.    Boy,  he  is  preferr'd     400 
By  thee  to  us,  and  he  shall  be  interr'd 
As  soldiers  can.    Be  cheerful ;   wipe  thine  eyes  : 
Some  falls  are  means  the  happier  to  arise.       [Exeunt. 


114 


CYMBELINE  Act  IV.  Sc.  iii. 

Scene  III. 

A  room  in  Cymbcluic's  palace. 

Enter  Cynibeline,  Lords,  Pisanio,  and  Attendants. 

Cym.  Again  ;    and  bring  me  word  how  'tis  with  her. 

[E.i'it  an  Attendant. 
A  fever  with  the  absence  of  her  son  ; 
A  madness,  of  which  her  hfe  's  in  danger.    Heavens, 
How  deeply  you  at  once  do  touch  me !    Imogen, 
The  great  part  of  my  comfort,  gone ;  my  queen 
Upon  a  desperate  bed,  and  in  a  time 
When  fearful  wars  point  at  me  ;  her  son  gone, 
So  needful  for  this  present :  it  strikes  me,  past 
The  hope  of  comfort.    But  for  thee,  fellow, 
Who  needs  must  know  of  her  departure  and  lo 

Dost  seem  so  ignorant,  we  '11  enforce  it  from  thee 
By  a  sharp  torture. 

Pis.  Sir,  my  life  is  yours, 

I  humbly  set  it  at  your  will :  but,  for  my  mistress, 
I  nothing  know  where  she  remains,  why  gone. 
Nor  when  she  purposes  return.     Beseech  your  high- 
ness. 
Hold  me  your  loyal  servant. 

First  Lord.  Good  my  liege, 

The  day  that  she  was  missing  he  was  here  : 
I  dare  be  bound  he  's  true  and  shall  perform 
All  parts  of  his  subjection  loyally.     For  Cloten, 
There  wants  no  diligence  in  seeking  him,  20 

And  will,  no  doubt,  be  found. 

Cyni.  The  time  is  troublesome. 

[To  Pisanio]  We'll  slip  you  for  a  season;    but  our 
jealousy 

115 


Act  IV.  Sc.  iii.  CYMBELINE 

Does  yet  depend. 

First  Lord.  So  please  your  majesty, 

The  Roman  legions,  all  from  Gallia  drawn, 
Are  landed  on  your  coast,  with  a  supply 
Of  Roman  gentlemen  by  the  senate  sent. 

Cym.  Now  for  the  counsel  of  my  son  and  queen ! 
I  am  amazed  with  matter. 

First  Lord.  Good  my  liege. 

Your  preparation  can  affront  no  less 
Than  what  you  hear  of  :  come  more,  for  more  you  're 
ready :  30 

The  want  is  but  to  put  those  powers  in  motion 
That  long  to  move. 

Cym.  I  thank  you.    Let 's  withdraw ; 

And  meet  the  time  as  it  seeks  us.    We  fear  not 
What  can  from  Italy  annoy  us,  but 
We  grieve  at  chances  here.     Away ! 

[Exeunt  all  but  Pisanio. 

Pis.  I  heard  no  letter  from  my  master  since 

I  wrote  him  Imogen  was  slain  :   'tis  strange : 
Nor  hear  I  from  my  mistress,  who  did  promise 
To  yield  me  often  tidings  ;  neither  know  I 
What  is  betid  to  Cloten,  but  remain  40 

Perplex'd  in  all.    The  heavens  still  must  work. 
Wherein  I  am  false  I  am  honest ;  not  true,  to  be  true. 
These  present  wars  shall  find  I  love  my  country. 
Even  to  the  note  o'  the  king,  or  I  '11  fall  in  them. 
All  other  doubts,  by  time  let  them  be  clear'd : 
Fortune  brings  in  some  boats  that  are  not  steer'd. 

[Exit. 


116 


CYMBELINE  Act  IV.  Sc.  iv. 

Scene  IV. 

Wales.     Before  the  cave  of  Belariiis. 
Enter  Belariiis,  Gitiderins,  and  Arviragiis. 

Giii.  The  noise  is  round  about  us. 

Bel.  Let  us  from  it. 

Arv.  What  pleasure,  sir,  find  we  in  Ufe,  to  lock  it 
From  action  and  adventure? 

Gut.  ^^y,  what  hope 

Have  we  in  hiding  us  ?    This  way,  the  Romans 
Must  or  for  Britons  slay  us  or  receive  us 
For  barbarous  and  unnatural  revolts 
During  their  use,  and  slay  us  after. 

Bel.  Sons, 

We  '11  higher  to  the  mountains  ;  there  secure  us. 
To  the  king's  party  there  's  no  going  :  newness 
Of  Cloten's  death — w.e  being  not  known,  not  muster'd 
Among  the  bands — may  drive  us  to  a  render  1 1 

Where  we  have  lived,  and  so  extort  from  's  that 
Which  we  have  done,  whose  answer  would  be  death 
Drawn  on  with  torture. 

Qui,  This  is,  sir,  a  doubt 

In  such  a  time  nothing  becoming  you,  I 

Nor  satisfying  us. 

Arz'.  It  is  not  likely 

That  when  they  hear  the  Roman  horses  neigh. 
Behold  their  quartered  fires,  have  both  their  eyes 
And  ears  so  cloy'd  importantly  as  now. 
That  they  will  waste  their  time  upon  our  note,  20 

To  know  from  whence  we  are. 

Qcl.  O,  I  am  known 

Of  many  in  the  army  :  many  years, 
117 


Act  IV.  Sc.  iv.  CYMBELINE 

Though  Cloten  then  but  young,  you  see,  not  wore 

him 
From  my  remembrance.    And  besides,  the  king 
Hath  not  deserved  my  service  nor  your  loves ; 
Who  find  in  my  exile  the  want  of  breeding. 
The  certainty  of  this  hard  life ;  aye  hopeless 
To  have  the  courtesy  your  cradle  promised, 
But  to  be  still  hot  summer's  tanlings  and 
The  shrinking  slaves  of  winter. 

Gui.  Than  be  so  30 

Better  to  cease  to  be.     Pray,  sir,  to  the  army : 
I  and  my  brother  are  not  known  ;   yourself 
So  out  of  thought,  and  thereto  so  o'ergrown. 
Cannot  be  question'd. 

Arz:  By  this  sun  that  shines, 

I  '11  thither :   what  thing  is  it  that  I  never 
Did  see  man  die !  scarce  ever  look'd  on  blood, 
But  that  of  coward  hares,  hot  goats,  and  venison  ! 
Never  bestrid  a  horse,  save  one  that  had 
A  rider  like  myself,  who  ne'er  wore  rowel 
Nor  iron  on  his  heel !     I  am  ashamed  40 

To  look  upon  the  holy  sun,  to  have 
The  benefit  of  his  blest  beams,  remaining 
So  long  a  poor  unknown. 

Giii  By  heavens,  I  '11  go : 

If  you  will  bless  me,  sir,  and  give  me  leave, 
I  '11  take  the  better  care,  but  if  you  will  not, 
The  hazard  therefore  due  fall  on  me  by 
The  hands  of  Romans ! 

Arv.  So  say  I :   amen. 

Bel.  No  reason  I,  since  of  your  lives  you  set 
So  slight  a  valuation,  should  reserve 
My  crack'd  one  to  more  care.    Have  with  you,  boys ! 
118 


CYMBELINE  Act  V.  Sc.  i. 

If  in  your  country  wars  you  chance  to  die,  51 

That  is  my  bed  too,  lads,  and  there  I  '11  lie : 

Lead,  lead.  [Aside]  The  time  seems  long:  their  blood 

thinks  scorn, 
Till  it  fly  out  and  show  them  princes  born.     [Exeunt. 


ACT   FIFTH. 
Scene  I. 

Britain.     The  Roman  camp. 

Enter  Posthumiis,  zi'ifh  a  bloody  handkerchief. 

Post.  Yea,  bloody  cloth,  I  '11  keep  thee :   for  I  wish'd 
Thou  shouldst  be  colour'd  thus.    You  married  ones, 
If  each  of  you  should  take  this  course,  how  many 
Must  murder  wives  much  better  than  themselves 
For  wrying  but  a  little  !    O  Pisanio  ! 
Every  good  servant  does  not  all  commands : 
No  bond  but  to  do  just  ones.     Gods  !   if  you 
Should  have  ta'en  vengeance  on  my  faults,  I  never 
Had  lived  to  put  on  this  :  so  had  you  saved 
The  noble  Imogen  to  repent,  and  struck  10 

Me,  wretch  more  worth  your  vengeance.     But,  alack. 
You  snatch  some  hence  for  little  faults ;   that  's  love. 
To  have  them  fall  no  more  :  you  some  permit 
To  second  ills  with  ills,  each  elder  worse, 
And  make  them  dread  it,  to  the  doer's  thrift. 
But  Imogen  is  your  own  :  do  your  best  wills, 
And  make  me  blest  to  obey  !   I  am  brought  hither 
Among  the  Italian  gentry,  and  to  fight 
Against  my  lady's  kingdom :   'tis  enough 
That,  Britain,  I  have  kill'd  thy  mistress  ;  peace  !      20 

IIQ 


Act  V.  Sc.  ii.  CYMBELINE 

I  '11  give  no  wound  to  thee.    Therefore,  good  heavens, 
Hear  patiently  my  purpose  :   I  '11  disrobe  me 
Of  these  Italian  weeds,  and  suit  myself 
As  does  a  Briton  peasant :   so  I  '11  fight 
Against  the  part  I  come  with  ;  so  I  '11  die 
For  thee,  O  Imogen,  even  for  whom  my  life 
Is,  every  breath,  a  death  :  and  thus,  unknown, 
Pitied  nor  hated,  to  the  face  of  peril 
Myself  I  '11  dedicate.    Let  me  make  men  know 
More  valour  in  me  than  my  habits  show.  30 

,  Gods,  put  the  strength  o'  the  Leonati  in  me ! 
To  shame  the  guise  o'  the  world,  I  will  begin 
The  fashion,  less  without  and  more  within.         [Exit. 

Scene  II. 

Field  of  battle  betzveen  the  British  and  Roman  camps. 

Enter,  from  one  side,  Lucius,  lachimo,  Imogen,  and  the' 
Roman  army;  from  the  other  side,  the  British  army ; 
Leonatus  Posthnmns  following,  like  a  poor  soldier. 
They  march  over  and  go  out.  Then  enter  again,  in 
skirmish,  lachimo  and  Posthnmns:  he  vanquisheth 
and  disarmeth  lachimo,  and  then  leaves  him. 

lach.  The  heaviness  and  guilt  within  my  bosom 
Takes  off  my  manhood :   I  have  belied  a  lady, 
The  princess  of  this  country,  and  the  air  on  't 
Revengingly  enfeebles  me  ;  or  could  this  carl, 
A  very  drudge  of  nature's,  have  subdued  me 
In  my  profession  ?    Knighthoods  and  honours,  borne 
As  I  wear  mine,  are  titles  but  of  scorn. 
If  that  thy  gentry,  Britain,  go  before 

120 


CYMBELINE  Act  V.  Sc.  iii. 

This  lout  as  he  exceeds  our  lords,  the  odds 
Is  that  we  scarce  are  men  and  you  are  gods.  [Exit.  lo 
The  battle  continues;  the  Britons  fly;  Cymbeline  is  taken; 
then  enter,  to  his  rescue,  Bclarius,  Guiderius,  and 
Arz'iragus. 

Bel.  Stand,  stand  !  We  have  the  advantage  of  the  ground ; 
The  lane  is  guarded :   nothing  routs  us  but 
The  villany  of  our  fears. 

J    '   >  Stand,  stand,  and  fight ! 

Re-enter    Posthnmus,    and    seconds    the    Britons:     they 

rescue  Cymbeline  and  exeunt.    Then  re-enter  Lucius, 

lachimo,  and  Imogen. 
Luc.  Away,  boy,  from  the  troops,  and  save  thyself ; 

For  friends  kill  friends,  and  the  disorder  's  such 

As  w^ar  were  hoodwink'd. 
lach.  'Tis  their  fresh  supplies. 

Luc.  It  is  a  day  turn'd  strangely :   or  betimes 

Let 's  reinforce,  or  fly.  [Exeunt. 

Scene  III. 

Another  part  of  the  Held. 
Enter  Posthumus  and  a  British  Lord. 

Lord.  Camest  thou  from  where  they  made  the  stand  ? 

Post.  I  did : 

Though  you,  it  seems,  come  from  the  fliers. 

Lord.  I  did. 

Post.  No  blame  be  to  you,  sir ;   for  all  was  lost. 

But  that  the  heavens  fought :  the  king  himself 
Of  his  wings  destitute,  the  army  broken, 
And  but  the  backs  of  Britons  seen,  all  flying 

121 


Act  V.  Sc.  iii.  CYMBELINE 

Through  a  strait  lane ;  the  enemy  full-hearted, 
Lolling  the  tongue  with  slaughtering,  having  work 
More  plentiful  than  tools  to  do  't,  struck  down 
Some  mortally,  some  slightly  touch'd,  some  falling  lO 
Merely  through  fear  ;  that  the  strait  pass  was  damm'd 
With  dead  men  hurt  behind,  and  cowards  living 
To  die  with  lengthen'd  shame. 

Lord.  Where  was  this  lane? 

Post.  Close  by  the  battle,  ditch'd,  and  wall'd  with  turf ; 
Which  gave  advantage  to  an  ancient  soldier, 
An  honest  one,  I  warrant ;  who  deserved 
So  long  a  breeding  as  his  white  beard  came  to, 
In  doing  this  for  's  country.    Athwart  the  lane 
He,  with  two  striplings — lads  more  like  to  run 
The  country  base  than  to  commit  such  slaughter ;   20 
With  faces  fit  for  masks,  or  rather  fairer 
Than  those  for  preservation  cased,  or  shame — 
Made  good  the  passage ;  cried  to  those  that  fled, 
'  Our  Britain's  harts  die  flying,  not  our  men : 
To  darkness  fleet  souls  that  fly  backwards.    Stand ; 
Or  we  are  Romans,  and  will  give  you  that 
Like  beasts  which  you  shun  beastly,  and  may  save 
But  to  look  back  in  frown  :  stand,  stand ! '    These 

three, 
Three  thousand  confident,  in  act  as  many, — 
For  three  performers  are  the  file  w^hen  all  30 

The  rest  do  nothing, — with  this  word  '  Stand,  stand,' 
Accommodated  by  the  place,  more  charming 
With  their  own  nobleness,  which  could  have  turn  d 
A  distaff  to  a  lance,  gilded  pale  looks. 
Part  shame,  part  spirit  renew'd;    that  some,  turn'd 
coward 


CYMBELINE  Act  V.  Sc.  iii. 

But  by  example, — O,  a  sin  in  war, 

Damn'd  in  the  first  beginners ! — 'gan  to  look 

The  way  that  they  did,  and  to  grin  like  lions 

Upon  the  pikes  o'  the  hunters.    Then  began 

A  stop  i'  the  chaser,  a  retire  ;  anon  40 

A  rout,  confusion  thick  :   forthwith  they  fly 

Chickens,  the  way  which  they  stoop'd  eagles ;   slaves, 

The    strides    they    victors    made :     and    now    our 

cowards, 
Like  fragments  in  hard  voyages,  became 
The  life  o'  the  need :    having  found  the  back-door 

open 
Of  the  unguarded  hearts,  heavens,  how  they  wound ! 
Some  slain  before,  some  dying,  some  their  friends 
O'er-borne  i'  the  former  wave :   ten  chased  by  one 
Are  now  each  one  the  slaughter-man  of  twenty : 
Those  that  would  die  or  ere  resist  are  grown  50 

The  mortal  bugs  o'  the  field. 

Lord,  This  was  strange  chance  : 

A  narrow  lane,  an  old  man,  and  two  boys. 

Post.  Nay,  do  not  wonder  at  it :  you  are  made 
Rather  to  wonder  at  the  things  you  hear 
Than  to  work  any.    Will  you  rhyme  upon  't, 
And  vent  it  for  a  mockery  ?    Here  is  one  : 
'  Two  boys,  an  old  man  twice  a  boy,  a  lane. 
Preserved  the  Britons,  was  the  Romans'  bane. 

Lord.  Nay,  be  not  angry,  sir. 

Post.  'Lack,  to  what  end  ? 

Who  dares  not  stand  his  foe,  I  '11  be  his  friend ;       60 
For  if  he  '11  do  as  he  is  made  to  do, 
I  know  he  '11  quickly  fly  my  friendship  too. 
You  have  put  me  into  rhyme. 
123 


Act  V.  Sc.  iii.  CYMBELINE 

Lord.  Farewell;   you 're  angry.   [Exit. 

Post.   Still  going  ?    This  is  a  lord  !    O  noble  misery  ! 
To  be  i'  the  field,  and  ask  *  what  news  ?  '  of  me ! 
To-day  how  many  would  have  given  their  honours 
To  have  saved  their  carcasses  !  took  heel  to  do  't, 
And  yet  died  too !    I,  in  mine  own  woe  charm'd, 
Could  not  find  death  where  I  did  hear  him  groan, 
Nor    feel   him    where   he    struck.      Being   an    ugly 
monster,  70 

'Tis  strange  he  hides  him  in  fresh  cups,  soft  beds, 
Sweet  words ;  or  hath  moe  ministers  than  we 
That  draw  his  knives  i'  the  war.     Well,  I  will  find 

him : 
For  being  now  a  favourer  to  the  Briton, 
No  more  a  Briton,  I  have  resumed  again 
The  part  I  came  in :  fight  I  will  no  more, 
But  yield  me  to  the  veriest  hind  that  shall 
Once  touch  my  shoulder.     Great  the  slaughter  is 
Here  made  by  the  Roman ;  great  the  answer  be 
Britons  must  take.    For  me,  my  ransom  's  death  :    80 
On  either  side  I  come  to  spend  my  breath, 
Which  neither  here  I  '11  keep  nor  bear  again, 
But  end  it  by  some  means  for  Imogen. 

Enter  two  British  Captains  and  Soldiers. 

First  Cap.  Great  Jupiter  be  praised !    Lucius  is  taken : 
'Tis  thought  the  old  man  and  his  sons  were  angels. 

.  Sec.  Cap.  There  was  a  fourth  man,  in  a  silly  habit. 
That  gave  the  affront  with  them. 

First  Cap.  So  'tis  reported  : 

But  none  of  'em  can  be  found.    Stand !  who  's  there? 

Post.  A  Roman ; 

124 


CYMBELINE  Act  V.  Sc.  iv. 

Who  had  not  now  been  drooping  here  if  seconds      90 
Had  answer'd  him. 
Sec.  Cap.  Lay  hands  on  him  ;  a  dog ! 

A  leg  of  Rome  shall  not  return  to  tell 
What  crows  have  peck'd  them  here.     He  brags  his 

service 
As  if  he  were  of  note  :  bring  him  to  the  king. 

Enter  Cymbcline,  Belarius,  Gtiiderins,  Arviragus,  Pisanio, 
and  Roman  Captives.  The  Captains  present  Pos- 
thmnns  to  Cymbeline,  who  delivers  him  over  to  a 
Gaoler:  then  exeunt  omnes. 

Scene  IV. 

A  British  prison. 

Enter  Posthnmiis  and  two  Gaolers. 

First  Gaol.  You  shall  not  now  be  stol'n,  you  have  locks 
upon  you : 
So  graze  as  you  find  pasture. 
Sec.  Gaol.  Ay,  or  a  stomach. 

[Exeunt  Gaolers. 
Post.  Most  welcome,  bondage  !   for  thou  art  a  way, 
I  think,  to  liberty :  yet  am  I  better 
Than  one  that 's  sick  o'  the  gout ;  since  he  had  rather 
Groan  so  in  perpetuity  than  be  cured 
By  the  sure  physician,  death,  who  is  the  key 
To    unbar   these    locks.      My    conscience,    thou    art 

fetter'd 
More  than  my  shanks  and  wrists :    you  good  gods, 

give  me 
The  penitent  instrument  to  pick  that  bolt,  10 

Then,  free  for  ever  !    Is  't  enough  I  am  sorry  ? 

125 


Act  V.  Sc.  iv.  CYMBELINE 

So  children  temporal  fathers  do  appease ; 

Gods  are  more  full  of  mercy.    Must  I  repent  ? 

I  cannot  do  it  better  than  in  gyves, 

Desired  more  than  constrained :   to  satisfy, 

If  of  my  freedom  'tis  the  main  part,  take 

No  stricter  render  of  me  than  my  all. 

I  know  you  are  more  clement  than  vile  men, 

Who  of  their  broken  debtors  take  a  third, 

A  sixth,  a  tenth,  letting  them  thrive  again  20 

On  their  abatement :  that 's  not  my  desire  : 

For  Imogen's  dear  life  take  mine ;  and  though 

'Tis  not  so  dear,  yet  'tis  a  life ;  you  coin'd  it : 

'Tween  man  and  man  they  weigh  not  every  stamp ; 

Though  light,  take  pieces  for  the  figure's  sake : 

You  rather  mine,  being  yours :   and  so,  great  powers. 

If  you  will  take  this  audit,  take  this  life, 

And  cancel  these  cold  bonds.    O  Imogen  ! 

I  '11  speak  to  thee  in  silence.  [Sleeps. 

Solemn  music.  Enter,  as  in  an  apparition,  Siciliiis  Le-^ 
onatns,  father  to  Posthuinns,  an  old  man,  attired  like 
a  warrior;  leading  in  his  hand  an  ancient  matron, 
his  zvife  and  mother  to  Posthnmns,  with  music  before 
them:  then,  after  other  music,  follow  the  tzvo  young 
Leonati.  brothers  to  Posthnmus,  with  zvoiinds  as  they 
died  in  the  zvars.  They  circle  Posthnmns  round  as  he 
lies  sleeping. 

Sici.        No  more,  thou  thunder-master,  show  30 

Thy  spite  on  mortal  flies : 
With  Mars  fall  out,  with  Juno  chide, 
That  thy  adulteries 
Rates  and  revenges. 
126 


CYMBELINE  Act  V.  Sc.  iv. 

Hath  my  poor  boy  done  aught  but  well, 

Whose  face  I  never  saw  ? 
I  died  whilst  in  the  womb  he  stay'd 

Attending  nature's  law : 
Whose  father  then — as  men  report 

Thou  orphans'  father  art —  40 

Thou  shouldst  have  been,  and  shielded  him 

From  this  earth-vexing  smart. 

Moth.     Lucina  lent  not  me  her  aid, 
But  took  me  in  my  throes ; 
That  from  me  was  Posthumus  ript, 
Came  crying  'mongst  his  foes, 
A  thing  of  pity  ! 

Sici.        Great  nature,  like  his  ancestry. 
Moulded  the  stuff  so  fair, 
That  he  deserved  the  praise  o'  the  world,  50 

As  great  Sicilius'  heir. 

First  Bro.  When  once  he  was  mature  for  man, 
In  Britain  where  was  he 
That  could  stand  up  his  parallel. 

Or  fruitful  object  be 
In  eye  of  Imogen,  that  best 
Could  deem  his  dignity? 

Moth.     With  marriage  wherefore  was  he  mock'd 
To  be  exiled,  and  thrown 
From  Leonati  seat,  and  cast  60 

From  her  his  dearest  one. 
Sweet  Imogen  ? 

Sici.        Why  did  you  suffer  lachimo, 
Slight  thing  of  Italy, 

127 


Act  V.  Sc.  iv.  CYMBELINE 

To  taint  his  nobler  heart  and  brain 

With  needless  jealousy; 
And  to  become  the  geek  and  scorn 

O'  the  other's  villany  ? 

Sec.  Bro.  For  this,  from  stiller  seats  we  came, 

Our  parents  and  us  twain,  70 

That  striking  in  our  country's  cause 
Fell  bravely  and  were  slain, 

Our  fealty  and  Tenantius'  right 
With  honour  to  maintain. 

First  Bro.  Like  hardiment  Posthumus  hath 

To  Cymbeline  perform'd : 
Then,  Jupiter,  thou  king  of  gods. 

Why  hast  thou  thus  adjourn'd 
The  graces  for  his  merits  due ; 

Being  all  to  dolours  turn'd?  80 

Sici.        Thy  crystal  window  ope ;  look  out ; 
No  longer  exercise 
Upon  a  valiant  race  thy  harsh 
And  potent  injuries. 

Moth.     Since,  Jupiter,  our  son  is  good, 
Take  off  his  miseries. 

Sici.        Peep  through  thy  marble  mansion  ;  help ; 
Or  we  poor  ghosts  will  cry 
To  the  shining  synod  of  the  rest 

Against  thy  deity.  90 

Both  Bro.  Help,  Jupiter  ;  or  we  appeal, 
And  from  thy  justice  fly. 

128 


CYMBELINE  Act  V.  Sc.  iv. 

Jupiter  descends  in  thunder  and  lightning,  sitting  upon 
an  eagle:  he  throzvs  a  thunderbolt.  The  Ghosts  fall 
on  their  knees. 

Jup.  No  more,  you  petty  spirits  of  region  low, 

Offend  our  hearing ;   hush  !    How  dare  you  ghosts 
Accuse  the  thunderer,  whose  bolt,  you  know, 

Sky-planted,  batters  all  rebelling  coasts  ? 
Poor  shadows  of  Elysium,  hence,  and  rest 

Upon  your  never-withering  banks  of  flowers  : 
Be  not  with  mortal  accidents  opprest  ; 

No  care  of  yours  it  is ;  you  know  'tis  ours.  lOO 

Whom  best  I  love  I  cross ;  to  make  my  gift, 

The  more  delay'd,  delighted.     Be  content ; 
Your  low-laid  son  our  godhead  will  uplift : 

His  comforts  thrive,  his  trials  well  are  spent. 
Our  Jovial  star  reign'd  at  his  birth,  and  in 

Our  temple  was  he  married.    Rise,  and  fade. 
He  shall  be  lord  of  lady  Imogen, 

And  happier  much  by  his  affliction  made. 
This  tablet  lay  upon  his  breast,  wherein 

Our  pleasure  his  full  fortune  doth  confine :  no 

And  so  away :  no  farther  with  your  din 

Express  impatience,  lest  you  stir  up  mine. 

Mount,  eagle,  to  my  palace  crystalline.     [Ascends. 

Sici.  He  came  in  thunder ;  his  celestial  breath 
Was  sulphurous  to  smell :  the  holy  eagle 
Stoop'd,  as  to  foot  us :  his  ascension  is 
More  sweet  than  our  blest  fields  :  his  royal  bird 
Prunes  the  irnmortal  wing  and  cloys  his  beak, 
As  when  his  god  is  pleased. 

^//.  Thanks,  Jupiter! 

129 


Act  V.  Sc.  iv.  CYMBELINE 

Sici.  The  marble  pavement  closes,  he  is  enter'd  120 

His  radiant  roof.    Away  !   and,  to  be  blest, 
Let  us  with  care  perform  his  great  behest. 

[The  Ghosts  vanish. 

Post.    [Waking']   Sleep,  thou  hast  been  a  grandsire,  and 

begot 
A  father  to  me ;  and  thou  hast  created 
A  mother  and  two  brothers :   but,  O  scorn ! 
Gone !  they  went  hence  so  soon  as  they  were  born  : 
And  so  I  am  awake.     Poor  wretches  that  depend 
On  greatness'  favour  dream  as  I  have  done ; 
Wake,  and  find  nothing.     But,  alas,  I  swerve : 
Many  dream  not  to  find,  neither  deserve,  130 

And  yet  are  steep'd  in  favours ;   so  am  I, 
That  have  this  golden  chance,  and  know  not  why. 
What  fairies  haunt  this  groimd?     A  book?     O  rare 

one! 
Be  not,  as  is  our  fangled  world,  a  garment 
Nobler  than  that  it  covers :  let  thy  effects 
So  follow,  to  be  most  unlike  our  courtiers. 
As  good  as  promise. 

[Reads]  '  When  as  a  lion's  whelp  shall,  to 
himself  unknown,  without  seeking  find,  and  be 
embraced  by  a  piece  of  tender  air,  and  when  140 
from  a  stately  cedar  shall  be  lopped  branches, 
w^hich,  being  dead  many  years,  shall  after  revive, 
be  jointed  to  the  old  stock  and  freshly  grow,  then 
shall  Posthumus  end  his  miseries,  Britain  be 
fortunate  and  flourish  m  peace  and  plenty.' 

'Tis  still  a  dream ;  or  else  such  stuff  as  madmen 
Tongue,  and  brain  not :  either  both,  or  nothing : 
Or  senseless  speaking,  or  a  speaking  such 

130 


CYMBELINE  Act  V.  Sc.  iv. 

As  sense  cannot  untie.    Be  what  it  is, 

The  action  of  my  Hfe  is  Hke  it,  which  1 50 

I  '11  keep,  if  but  for  sympathy. 

Re-enter  Gaolers, 

First  Gaol.  Come,  sir,  are  you  ready  for  death? 

Post.  Over-roasted  rather ;  ready  long  ago. 

First  Gaol.  Hanging  is  the  word,  sir  :  if  you  be  ready 
for  that,  you  are  well  cooked. 

Post.  So,  if  I  prove  a  good  repast  to  the  spectators, 
the  dish  pays  the  shot. 

First  Gaol.  A  heavy  reckoning  for  you,  sir.  But  the 
comfort  is,  you  shall  be  called  to  no  more  pay- 
ments, fear  no  more  tavern-bills ;  which  are  160 
often  the  sadness  of  parting,  as  the  procuring 
of  mirth :  you  come  in  faint  for  want  of  meat, 
depart  reeling  with  too  much  drink ;  sorry  that 
you  have  paid  too  much,*  and  sorry  that  you  are 
paid  too  much  ;  purse  and  brain  both  empty,  the  . 
brain  the  heavier  for  being  too  light,  the  purse 
too  light,  being  drawn  of  heaviness  :  of  this  con- 
tradiction you  shall  now  be  quit.  O,  the  charity 
of  a  penny  cord  !  it  sums  up  thousands  in  a  trice  : 
you  have  no  true  debitor  and  creditor  but  it;  of  170 
what 's  past,  is,  and  to  come,  the  discharge :  your 
neck,  sir,  is  pen,  book  and  counters;  so  the 
acquittance  follows. 

Post.  I  am  merrier  to  die  than  thou  art  to  live. 

First  Gaol  Indeed,  sir,  he  that  sleeps  feels  not  the 
toothache:  but  a  man  that  were  to  sleep  your 
sleep,  and  a  hangman  to  help  him  to  bed,  I 
think  he  would  change  places  with  his  officer ; 

131 


Act  V,  Sc.  iv.  CYMBELINE 

for,  look  you,  sir,  you  know  not  which  way  you 
shall  go.  1 80 

Post.  Yes,  indeed  do  I,  fellow. 

First  Gaol,  Your  death  has  eyes  in  's  head  then ;  I 
have  not  seen  him  so  pictured :  you  must  either 
be  directed  by  some  that  take  upon  them  to 
know,  or  to  take  upon  yourself  that  which  I  am 
sure  you  do  not  know,  or  jump  the  after-inquiry 
on  your  own  peril :  and  how  you  shall  speed  in 
your  journey's  end,  I  think  you'll  never  return 
to  tell  one. 

Post.  I  tell  thee,  fellow,  there  are  none  w^ant  eyes  to 

direct  them  the  way  I  am  going,  but  such  as  190 
wink  and  will  not  use  them. 

First  Gaol.  What  an  infinite  mock  is  this,  that  a  man 
should  have  the  best  use  of  eyes  to  see  the  way 
of  blindness !  I  am  sure  hanging  's  the  way  of 
winking. 

Enter  a  Messenger. 

Mess,  Knock  off  his  manacles;  bring  your  prisoner 
to  the  king. 

Post.  Thou  bringest  good  news,  I  am  called  to  be 
made  free. 

First  Gaol.  I  '11  be  hanged  then.  200 

Post.  Thou  shalt  be  then  freer  than  a  gaoler;    no 

bolts  for  the  dead.  [Exeunt  all  but  First  Gaoler. 

First  Gaol.  Unless  a  man  would  marry  a  gallows  and 
beget  young  gibbets,  I  never  saw  one  so  prone. 
Yet,  on  my  conscience,  there  are  verier  knaves 
desire  to  live,  for  all  he  be  a  Roman :  and  there 
be  some  of  them  too,  that  die  against  their  wills ; 
so  should  I,  if  I  were  one.  I  would  we  were 
all  of  one  mind,  and  one  mind  good;    O,  there 

132 


CYMBELINE  Act  V.  Sc.  v. 

were   desolation   of  gaolers   and   gallowses!     I  210 
speak  against  my  present  profit,  but  my  wish 
iiath  a  preferment  in  't.  [Exit. 

Scene  V. 

Cymhcline's  tent. 

Enter  Cynihcline,  Belarins,  Guideriiis,  Arviragus, 
Pisanio,  Lords,  Officers,  and  Attendants. 

Cyni.  Stand  by  my  side,  you  whom  the  gods  have  made 
Preservers  of  my  throne.     Woe  is  my  heart, 
That  the  poor  soldier,  that  so  richly  fought. 
Whose  rags  shamed  gilded  arms,  whose  naked  breast 
Stepp'd  before  targes  of  proof,  cannot  be  found : 
He  shall  be  happy  that  can  find  him,  if 
Our  grace  can  make  him  so. 

Bel.  I  never  saw 

Such  noble  fury  in  so  poor  a  thing ; 
Such  precious  deeds  in  one  that  promised  nought 
But  beggary  and  poor  looks. 

Cym.  No  tidings  of  him?     10 

Pis.  He  hath  been  search'd  among  the  dead  and  living, 
But  no  trace  of  him. 

Cym.  To  my  grief,  I  am 

The  heir  of  his  reward  ;    [To  Belarins,  Guiderius,  and 

Arz'iragus]   which  I  will  add 
To  you,  the  liver,  heart,  and  brain  of  Britain, 
By  whom  I  grant  she  fives.     'Tis  now  the  time 
To  ask  of  whence  you  are :  report  it. 

Bel.  Sir, 

In  Cambria  are  we  born,  and  gentlemen 
Further  to  boast  were  neither  true  nor  modest, 

133 


Act  V.  Sc.  V.  CYMBELINE 

Unless  I  add  we  are  honest. 
Cym.  Bow  your  knees. 

Arise  my  knights  o'  the  battle  :  I  create  you  20 

Companions  to  our  person,  and  will  fit  you 
With  dignities  becoming  your  estates. 

Enter  Cornelius  and  Ladies. 

There  's  business  in  these  faces.  Why  so  sadly 
Greet  you  our  victory?  you  look  like  Romans, 
And  not  o'  the  court  of  Britain. 

Cor.  Hail,  great  king! 

To  sour  your  happiness,  I  must  report 
The  queen  is  dead. 

Cyni.  Who  worse  than  a  physician 

Would  this  report  become?     But  I  consider, 
By  medicine  life  may  be  prolong'd,  yet  death 
Will  seize  the  doctor  too  ?     How  ended  she  ?  30 

Cor.  With  horror,  madly  dying,  like  her  life ; 
Which,  being  cruel  to  the  world,  concluded 
Most  cruel  to  herself.     What  she  confess'd 
I  will  report,  so  please  you :  these  her  women 
Can  trip  me  if  I  err ;  who  with  wet  cheeks 
Were  present  w^hen  she  finish'd. 

Cym.  Prithee,  say. 

Cor.  First,  she  confess'd  she  never  loved  you,  only 
Affected  greatness  got  by  you,  not  you : 
Married  your  royalty,  was  wife  to  your  place, 
Abhorr'd  your  person. 

Cytn.  She  alone  knew  this ;  40 

And,  but  she  spoke  in  dying,  I  would  not 
Believe  her  lips  in  opening  it.     Proceed. 

Cor.  Your  daughter,  whom  she  bore  in  hand  to  love 

134 


CYMBELINE  Act  V.  Sc.  v. 

With  such  integrity,  she  did  confess 
Was  as  a  scorpion  to  her  sight;   whose  Hfe, 
But  that  her  flight  prevented  it,  she  had 
Ta'en  off  by  poison. 

Cym.  O  most  deHcate  fiend ! 

Who  is  't  can  read  a  woman?     Is  there  more? 

Cor.  More,  sir,  and  worse.    She  did  confess  she  had 

For  you  a  mortal  mineral ;   which,  being  took,         50 
Should  bythe  minute  feed  on  life  and  lingering 
By  inches  waste  you  :  in  which  time  she  purposed, 
By  watching,  weeping,  tendance,  kissing,  to 
O'ercome  you  with  her  show,  and  in  time. 
When  she  had  fitted  you  with  her  craft,  to  work 
Her  son  into  the  adoption  of  the  crown  : 
But,  failing  of  her  end  by  his  strange  absence. 
Grew  shameless-desperate ;    open'd,  in  despite 
Of  heaven  and  men,  her  purposes  ;    repented 
The  evils  she  hatch'd  were  not  effected  ;  so  60 

Despairing  died. 

Cym.  Heard  you  all  this,  her  women  ? 

Ladies.  We  did,  so  please  your  highness. 

Cym.  Mine  eyes 

Were  not  in  fault,  for  she  was  beautiful. 
Mine  ears  that  heard  her  flattery,  nor  my  heart 
That   thought   her   like   her   seeming;    it   had   been 

vicious 
To  have  mistrusted  her :   yet,  O  my  daughter 
That  it  was  folly  in  me,  thou  mayst  say. 
And  prove  it  in  thy  feeling.    Heaven  mend  all ! 

Enter  Lucius,  lachimo,  the  Soothsayer,  and  other  Roman 
Prisoners,  guarded;  Posthumus  behind,  and  Imogen. 

Thou  comest  not,  Caius,  now  for  tribute ;  that 
135 


Act  V.  Sc.  V.  CYMBELINE 

The  Britons  have  razed  out,  though  with  the  loss    70 
Of  many  a  bold  one  ;   whose  kinsmen  have  made  suit 
That  their  good  souls  may  be  appeased  with  slaughter 
Of  you  their  captives,  which  ourself  have  granted : 
So  think  of  your  estate. 

Luc.  Consider,  sir,  the  chance  of  war :  the  day 
Was  yours  by  accident ;  had  it  gone  with  us, 
We   should   not,    when   the   blood   was    cool,    have 

threaten'd 
Our  prisoners  with  the  sword.     But  since  the  gods 
Will  have  it  thus,  that  nothing  but  our  lives 
May  be  call'd  ransom,  let  it  come :   sufficeth  80 

A  Roman  with  a  Roman's  heart  can  suffer : 
Augustus  lives  to  think  on  't :   and  so  much 
For  my  peculiar  care.     This  one  thing  only 
I  will  entreat ;   my  boy,  a  Briton  born, 
Let  him  be  ransom'd :   never  master  had 
A  page  so  kind,  so  duteous,  diligent, 
So  tender  over  his  occasions,  true. 
So  feat,  so  nurse-like :  let  his  virtue  join 
With  my  request,  which  I  '11  make  bold  your  highness 
Cannot  deny ;  he  hath  done  no  Briton  harm,  90 

Though  he  have  served  a  Roman :   save  him,  sir, 
And  spare  no  blood  beside. 

Cym.  I  have  surely  seen  him  : 

His  favour  is  familiar  to  me.     Boy, 
Thou  hast  look'd  thyself  into  my  grace. 
And  art  mine  own.     I  know  not  why,  nor  wherefore. 
To  say,  live,  boy  :  ne'er  thank  thy  master ;  live : 
And  ask  of  Cymbeline  what  boon  thou  wilt. 
Fitting  my  bounty  and  thy  state,  I  '11  give  it ; 
Yea,  though  thou  do  demand  a  prisoner, 

136 


J 


CYMBELINE  Act  V.  Sc.  v. 

The  noblest  ta'en. 
Imo.  I  humbly  thank  your  highness.   lOO 

Luc.  I  do  not  bid  thee  beg-  my  life,  good  lad, 

And  yet  I  know  thou  wilt. 
Imo.  Xo,  no:    alack, 

There  's  other  work  in  hand :    I  see  a  thing 

Bitter  to  me  as  death  :   your  life,  good  master, 

Must  shuffle  for  itself. 
Luc.  The  boy  disdains  me. 

He  leaves  me,  scorns  me :   briefly  die  their  joys 

That  place  them  on  the  truth  of  girls  and  boys. 

Why  stands  he  so  perplex'd? 
Cym.  What  wouldst  thou,  boy? 

I  love  thee  more  and  more :   think  more  and  more 

What 's  best  to  ask.     Know'st  him  thou  look'st  on  ? 
speak,  no 

Wilt  have  him  live  ?     Is  he  thy  kin  ?  thy  friend  ? 
Imo,  He  is  a  Roman ;  no  more  kin  to  me 

Than   I   to  your  highness;    who,   being  born   your 
vassal. 

Am  something  nearer. 
Cym.  Wherefore  eyest  him  so? 

Imo.  I  '11  tell  you,  sir,  in  private,  if  you  please 

To  give  me  hearing. 
Cym.  Ay,  with  all  my  heart. 

And  lend  my  best  attention.     What  's  thy  name  ? 
Imo.  Fidele,  sir. 
Cym.  Thou  'rt  my  good  youth,  my  page ; 

I  '11  be  thy  master :   walk  with  me ;  speak  freely. 

[Cyinbcline  and  Imogen  converse  apart. 
Bel.  Is  not  this  boy  revived  from  death  ? 
Arv.  One  sand  another  120 

137 


Act  V.  Sc.  V.  CYMBELINE 

Not  more  resembles  that  sweet  rosy  lad 

Who  died,  and  was  Fidele.     What  think  you? 
Gui.  The  same  dead  thing  alive. 
Bel.  Peace,  peace!   see  further;  he  eyes  us  not;   forbear; 

Creatures  rnay  be  alike :   were  't  he,  I  am  sure 

He  would  have  spoke  to  us. 
Gui.  But  we  saw  him  dead. 

Bel.  Be  silent ;   let 's  see  further. 
Pis.  [Aside]   It  is  my  mistress : 

Since  she  is  living,  let  the  time  run  on. 

To  good  or  bad. 

[Gymbeline  and  Imogen  come  forzuard. 
Gym.  Come,  stand  thou  by  our  side ; 

Make  thy  demand  aloud.      [To  lachiuio]    Sir,  step 
you  forth;  130 

Give  answer  to  this  boy,  and  do  it  freely; 

Or,  by  our  greatness  and  the  grace  of  it. 

Which  is  our  honour,  bitter  torture  shall 

Winnow  the  truth   from   falsehood.     On,   speak  to 
him. 
Imo.  My  boon  is  that  this  gentleman  may  render 

Of  whom  he  had  this  ring. 
Post.  [Aside]  Wliat  's  that  to  him? 

Gym.  That  diamond  upon  your  finger,  say 

How  came  it  yours? 
lach.  Thou  'It  torture  me  to  leave  unspoken  that 

Which,  to  be  spoke,  would  torture  thee. 
Gym.  How!    me?  140 

lach.  I  am  glad  to  be  constrain'd  to  utter  that 

Which  torments  me  to  conceal.     By  villany 

I  got  this  ring:   'twas  Leonatus'  jewel; 

Whom  thou  didst  banish;    and — which  more  may 
grieve  thee, 

As  it  doth  me, — a  nobler  sir  ne'er  lived 

138 


CYMBELINE  Act  V.  Sc.  v, 

'Twixt  sky  and  ground.     Wilt  thou  tiear  more,  my 
lord? 

Cym.  All  that  belongs  to  this. 

lach.  That  paragon,  thy  daughter, 

For  whom  my  heart  drops  blood  and  my  false  spirits 
Quail  to  remember — Give  me  leave ;  I  faint. 

Cym.  My  daughter  ?  what  of  her  ?  Renew  thy  strength  : 
I  had  rather  thou  shouldst  live  while  nature  will  151 
Than  die  ere  I  hear  more :  strive,  man,  and  speak. 

lach.  Upon  a  time — unhappy  was  the  clock 

That  struck  the  hour  ! — it  was  in  Rome, — accurst 
The  mansion  where! — 'twas  at  a  feast, — O,  would 
Our  viands  had  been  poison'd,  or  at  least 
Those   which    I    heaved   to   head! — the   good    Pos- 

thumus, — 
What  should  I  say  ?  he  was  too  good  to  be 
Where  ill  men  were ;  and  was  the  best  of  all 
Amongst  the  rarest  of  good  ones — sitting  sadly,     160 
Hearing  us  praise  our  loves  of  Italy 
For  beauty  that  made  barren  the  swell'd  boast 
Of  him  that  best  could  speak  ;   for  feature,  laming     , 
The  shrine  of  Venus,  or  straight-pight  Minerva, 
Postures  beyond  brief  nature  ;   for  condition, 
A  shop  of  all  the  qualities  that  man 
Loves  woman  for ;  besides  that  hook  of  wiving, 
Fairness  which  strikes  the  eye — 

Cym.  T  stand  on  fire : 

Come  to  the  matter. 

lach.  All  too  soon  I  shall, 

Unless  thou  wouldst  grieve  quickly.     This  Posthu- 

mus. 
Most  like  a  noble  lord  in  love  and  one  171 

That  had  a  royal  lover,  took  his  hint, 

139 


Act  V.  Sc.  V.  CYMBELINE 

And  not  dispraising  whom  we  praised, — therein 

He  was  as  calm  as  virtue — he  began 

His  mistress'  picture ;    which  by  his  tongue  being 

made, 
And  then  a  mind  put  in  't,  either  our  brags 
Were  crack'd  of  kitchen-trulls,  or  his  description 
Proved  us  unspeaking  sots. 

Cym.  Nay,  nay,  to  the  purpose. 

lach.  Your  daughter's  chastity — there  it  begins. 

He  spake  of  her,  as  Dian  had  hot  dreams,  i8o 

And  she  alone  were  cold  :  whereat  I,  wretch. 
Made  scruple  of  his  praise,  and  wager'd  with  him 
Pieces  of  gold  'gainst  this  which  then  he  wore 
Upon  his  honour'd  linger,  to  attain 
In  suit  the  place  of  's  bed  and  win  this  ring 
By  hers  and  mine  adultery :  he,  true  knight, 
No  lesser  of  her  honour  confident 
Than  I  did  truly  find  her,  stakes  this  ring ; 
And  would  so,  had  it  been  a  carbuncle 
Of  Phoebus'  wheel ;  and  might  so  safely,  had  it      190 
Been  all  the  worth  of  's  car.    Away  to  Britain 
Post  I  in  this  design :  well  may  you,  sir, 
Remember  me  at  court ;  where  I  w^as  taught 
Of  your  chaste  daughter  the  wide  difference 
'Twixt  amorous  and  villanous.     Being  thus  quench'd 
Of  hope,  not  longing,  mine  Italian  brain 
'Gan  in  your  duller  Britain  operate 
Most  vilely ;  for  my  vantage,  excellent  ; 
And,  to  be  brief,  my  practice  so  prevail'd, 
That  I  return'd  with  similar  proof  enough  200 

To  make  the  noble  Leonatus  mad, 
By  wounding  his  belief  in  her  renown 

140 


CYMBELINE  Act  V.  Sc.  v. 

With  tokens  thus,  and  thus ;  averring  notes 

Of  chamber-hanging,  pictures,  this  her  bracelet, — 

0  cunning,  how  I  got  it ! — nay,  some  marks 
Of  secret  on  her  person,  that  he  could  not 
But  think  her  bond  of  chastity  quite  crack'd, 

1  having  ta'en  the  forfeit.     Whereupon — 
Methinks  I  see  him  now — 

Post.  [Advancing^   Ay,  so  thou  dost, 

Italian  fiend  !    Ay  me,  most  credulous  fool,  210 

Egregious  murderer,  thief,  any  thing 

That 's  due  to  all  the  villains  past,  in  being, 

To  come !    O,  give  me  cord,  or  knife,  or  poison. 

Some  upright  justicer!    Thou,  king,  send  out 

For  torturers  ingenious  :  It  Is  I 

That  all  the  abhorred  things  o'  the  earth  amend 

By  being  worse  than  they.     I  am  Posthumus, 

That  kill'd  thy  daughter :   villain-like,  T  He ; 

That  caused  a  lesser  villain  than  myself, 

A  sacrilegious  thief,  to  do  't.    The  temple  220 

Of  virtue  was  she ;   yea,  and  she  herself. 

Spit,  and  throw  stones,  cast  mire  upon  me,  set 

The  dogs  o'  the  street  to  bay  me :  every  villain 

Be  call'd  Posthumus  Leonatus,  and 

Be  vlUany  less  than  'twas  !     O  Imogen  ! 

My  queen,  my  life,  my  wife !    O  Imogen, 

Imogen,  Imogen ! 

Imo.  Peace,  my  lord  ;  hear,  hear — 

Post.  Shall 's  have  a  play  of  this  ?    Thou  scornful  page. 
There  lie  thy  part.  [Striking  her:  she  falls. 

Pis.  O,  gentlemen,  help!  229 

Mine  and  your  mistress  !     O,  my  lord  Posthumus ! 
You  ne'er  kill'd  Imogen  till  now.     Help,  help ! 

141 


Act  V.  Sc.  V.  CYMBELINE 

Mine  honour'd  lady ! 

Cym.  Does  the  world  go  round? 

Post.  How  came  these  staggers  on  me  ? 

Pis.  Wake,  my  mistress  ! 

Cym.  If  this  be  so,  the  gods  do  mean  to  strike  me 
To  death  with  mortal  joy. 

Pis.  How  fares  my  mistress  ? 

lino.  O,  get  thee  from  my  sight ; 

Thou  gavest  me  poison  :   dangerous  fellow,  hence ! 
Breathe  not  where  princes  are. 

Cyin.  The  tune  of  Imogen  ! 

Pis.  Lady, 

The  gods  throw  stones  of  sulphur  on  me,  if  240 

That  box  I  gave  you  was  not  thought  by  me 
A  precious  thing:    I  had  it  from  the  queen. 

Cym.  New  matter  still? 

lino.  It  poison'd  me. 

Cor.  O  gods! 

I  left  out  one  thing  which  the  queen  confessed, 
Which  must  approve  thee  honest:   '  If  Pisanio 
Have,'  said  she,  *  given  his  mistress  that  confection 
Which  I  gave  him  for  cordial,  she  is  served 
As  I  would  serve  a  rat.' 

Cym.  What 's  this,  Cornelius  ? 

Co7\  The  queen,  sir,  very  oft  importuned  me 

To  temper  poisons  for  her,  still  pretending  250 

The  satisfaction  of  her  knowledge  only 
In  killing  creatures  vile,  as  cats  and  dogs, 
Of  no  esteem :   I,  dreading  that  her  purpose 
Was  of  more  danger,  did  compound  for  her 
A  certain  stuff,  which  being  ta'en  would  cease 
The  present  power  of  life,  but  in  short  time 
142 


CYMBELINE  Act  V.  Sc.  v. 

All  offices  of  nature  should  again 

Do  their  due  functions.     Have  you  ta'en  of  it? 

Into.  Most  like  I  did,  for  I  was  dead. 

Bel.  j\Iy  boys, 

There  was  our  error. 
^  Giii.  This  is,  sure,  Fidele.  260 

Imo.  Why  did  you  throw  your  wedded  lady  from  you? 
Think  that  you  are  upon  a  rock,  and  now 
Throw  me  again.  [Embracing  him. 

Post.  Hang  there  like  fruit,  my  soul. 

Till  the  tree  die ! 

Cym.  How  now,  my  flesh,  my  child ! 

What,  makest  thou  me  a  dullard  in  this  act  ? 
Wilt  thou  not  speak  to  me? 

Imo.  [Kneeling']   Your  blessing,  sir. 

Bel.    [To  Giii.  and  Arv.]  Though  you  did  love  this  youth, 
I  blame  ye  not ; 
You  had  a  motive  for  't. 

Cym.  My  tears  that  fall 

Prove  holy  water  on  thee !     Imogen, 
Thy  mother  's  dead. 

Imo.  I  am  sorry  for  't,  my  lord.       270 

Cym.  O,  she  was  naught ;   and  long  of  her  it  was 
That  we  meet  here  so  strangely  :  but  her  son 
Is  gone,  we  know  not  how  nor  where. 

Pis.  My  lord. 

Now  fear  is  from  me,  I  '11  speak  troth.     Lord  Cloten, 

Upon  my  lady's  missing,  came  to  me 

With  his  sword  drawn  ;    foam'd  at  the  mouth,  and 

swore. 
If  I  discovered  not  wdiich  way  she  was  gone, 
It  was  my  instant  death.    By  accident, 

143 


Act  V.  Sc.  V.  CYMBELINE 

I  had  a  feigned  letter  of  my  master's 
Then  in  my  pocket ;   which  directed  him  280 

To  seek  her  on  the  mountains  near  to  Milford ; 
Where,  in  a  frenzy,  m  my  master's  garments, 
Which  he  enforced  from  me,  away  he  posts 
With  unchaste  purpose,  and  with  oath  to  violate 
My  lady's  honour :  what  became  of  him 
I  further  know  not. 

Gui.  Let  me  end  the  story: 

I  slew  him  there. 

Cym.  Marry,  the  gods  forfend ! 

I  would  not  thy  good  deeds  should  from  my  lips 
Pluck  a  hard  sentence :   prithee,  valiant  youth. 
Deny  't  again. 

Gui.  I  have  spoke  it,  and  I  did  it.  290 

Cym.  He  was  a  prince. 

Gui.  A  most  incivil  one :   the  wrongs  he  did  me 

Were  nothing  prince-like  ;  for  he  did  provoke  me 
With  language  that  would  make  me  spurn  the  sea, 
If  it  could  so  roar  to  me :   I  cut  off  's  head ; 
And  am  right  glad  he  is  not  standing  here 
To  tell  this  tale  of  mine. 

Cym.  I  am  sorry  for  thee  : 

By  thine  own  tongue  thou  art  condemn'd,  and  must 
Endure  our  law  :   thou  'rt  dead. 

Imo.  That  headless  man 

I  thought  had  been  my  lord. 

Cym.  Bind  the  offender,      300 

And  take  him  from  our  presence. 

Bel.  Stay,  sir  king : 

This  man  is  better  than  the  man  he  slew, 
As  well  descended  as  thyself,  and  hath 
144 


CYMBELINE  Act  V.  Sc.  v. 

More  of  thee  merited  than  a  band  of  Clotens 

Had  ever  scar  for.      [To  the  Guard]      Let  his  arms 

alone ; 
They  were  not  born  for  bondage. 

Cyiu,  Why,  old  soldier, 

Wilt  thou  undo  the  worth  thou  art  unpaid  for, 
By  tasting  of  our  wrath?     How  of  descent 
As  good  as  we  ? 

Arv.  In  that  he  spake  too  far. 

Cyin.  And  thou  shalt  die  for  't. 

Bel.  We  will  die  all  three:  310 

But  I  will  prove  that  two  on  's  are  as  good 
As  I  have  given  out  him.    ]\Iy  sons,  I  must 
For  mine  own  part  unfold  a  dangerous  speech, 
Though  haply  well  for  you. 

Arv.  Your  danger  's  ours. 

Gni.  And  our  good  his. 

Bel.  Have  at  it  then,  by  leave. 

Thou  hadst,  great  king,  a  subject  who 

Was  call'd  Belarius. 
Cyin.  What  of  him  ?  he  is 

A  banish'd  traitor. 
Bel.  He  it  is  that  hath 

Assumed  this  age,  indeed  a  banish'd  man ; 

I  know  not  how  a  traitor. 
Cym.  Take  him  hence:  320 

The  whole  world  shall  not  save  him. 
Bel.  Not  too  hot: 

First  pay  me  for  the  nursing  of  thy  sons ; 

And  let  it  be  confiscate  all,  so  soon 

As  I  have  received  it. 

Cym.  Nursing  of  my  sons  ! 

145 


Act  V.  Sc.  V.  CYMBELINE 

Bel.  I  am  too  blunt  and  saucy :   here  's  my  knee: 
Ere  I  arise  I  will  prefer  my  sons ; 
Then  spare  not  the  old  father.    Mighty  sir, 
These  two  young  gentlemen,  that  call  me  father 
And  think  they  are  my  sons,  are  none  of  mine ; 
They  are  the  issue  of  your  loins,  my  liege,  330 

And  blood  of  your  begetting. 

Cym.  How  !   my  issue ! 

Bel.  So  sure  as  you  your  father's.     I,  old  Morgan, 
Am  that  Belarius  whom  you  sometime  banish'd : 
Your  pleasure  was  my  mere  offence,  my  punishment 
Itself,  and  all  my  treason :   that  I  suffer'd 
Was  all  the  harm  I  did.     These  gentle  princes — • 
For  such  and  so  they  are — these  twenty  years 
Have  I  train'd  up  :  those  arts  they  have  as  I 
Could  put  into  them ;   my  breeding  was,  sir,  as 
Your  highness  knows.     Their  nurse,  Euriphile,  340 
Whom  for  the  theft  I  wedded,  stole  these  children 
Upon  my  banishment :   I  moved  her  to  't, 
Having  received  the  punishment  before 
For  that  which  I  did  then :   beaten  for  loyalty 
Excited  me  to  treason :   their  dear  loss, 
The  more  of  you  'twas  felt,  the  more  it  shaped 
Unto  my  end  of  stealing  them.     But,  gracious  sir, 
Here  are  your  sons  again ;   and  I  must  lose 
Two  of  the  sweet'st  companions  in  the  world. 
The  benediction  of  these  covering  heavens  350 

Fall  on  their  heads  like  dew !   for  they  are  worthy 
To  inlay  heaven  with  stars. 

Cym.  Thou  weep'st,  and  speak'st. 

The  service  that  you  three  have  done  is  more 
Unlike  than  this  thou  tell'st.     I  lost  my  children : 
146 


CYMBELINE  Act  V.  Sc.  v. 

If  these  be  they,  I  know  not  how  to  wish 
A  pair  of  worthier  sons. 
Bel.  Be  pleased  awhile. 

This  gentleman,  whom  I  call  Polydore, 
Most  worthy  prince,  as  yours,  is  true  Guiderius : 
This  gentleman,  my  Cadwal,  Arviragus, 
Your  younger  princely  son  ;  he,  sir,  was  lapp'd      360 
In  a  most  curious  mantle,  wrought  by  the  hand 
Of  his  queen  mother,  which  for  more  probation 
I  can  with  ease  produce. 
Cym.  Guiderius  had 

Upon  his  neck  a  mole,  a  sanguine  star; 
It  is  a  mark  of  wonder, 
Bel.  This  is  he ; 

Who  hath  upon  him  still  that  natural  stamp : 
It  was  wise  nature's  end  in  the  donation, 
To  be  his  evidence  now. 
Cym.  O,  what  am  I  ? 

A  mother  to  the  birth  of  three?     Ne'er  mother 
Rejoiced  deliverance  more.     Blest  pray  you  be,  370 
That,  after  this  strange  starting  from  your  orbs, 
You  may  reign  in  them  now!     O  Imogen, 
Thou  hast  lost  by  this  a  kingdom. 
Into.  No,  my  lord  ; 

I  have  got  two  worlds  by  't.     O  my  gentle  brothers. 
Have  we  thus  met  ?     O,  never  say  hereafter 
But  I  am  truest  speaker :  you  call'd  me  brother. 
When  I  was  but  your  sister ;   I  you  brothers. 
When  ye  were  so  indeed. 
Cym.  Did  you  e'er  meet? 

Arv.  Ay,  my  good  lord. 

Qui.  And  at  first  meeting  loved, 

147 


Act  V.  Sc.  V.  CYMBELINE 

Continued  so,  until  we  thought  he  died.  380 

Cor.  By  the  queen's  dram  she  swallow'd. 

Cym.  O  rare  instinct ! 

When  shall  I  hear  all  through  ?     This  fierce  abridge- 
ment 
Hath  to  it  circumstantial  branches,  which 
Distinction  should  be  rich  in.     Where?    how  lived 

you? 
And  when  came  you  to  serve  our  Roman  captive? 
How  parted  with  your  brothers  ?  how  first  met  them  ? 
Why  fled  you  from  the  court  ?  and  whither  ?     These, 
And  your  three  motives  to  the  battle,  with 
I  know  not  how  much  more,  should  be  demanded ; 
And  all  the  other  by-dependances,  390 

From  chance  to  chance :  but  nor  the  time  nor  place 
Will  serve  our  long  inter'gatories.     See, 
Posthumus  anchors  upon  Imogen  ; 
And  she,  like  harmless  lightning,  throws  her  eye 
On  him,  her  brothers,  me,  her  master,  hitting 
Each  object  with  a  joy:  the  counterchange 
Is  severally  in  all.     Let 's  quit  this  ground. 
And  smoke  the  temple  with  our  sacrifices. 
[To  Belarius]   Thou  art  my  brother;    so  we'll  hold 
thee  ever. 

Imo.  You  are  my  father  too  ;   and  did  relieve  me,         400 
To  see  this  gracious  season. 

Cym.  All  o'erjoy'd, 

Save  these  in  bonds :   let  them  be  joyful  too, 
For  they  shall  taste  our  comfort. 

Imo.  My  good  master, 

I  will  yet  do  you  service. 

Luc.  Happy  be  you! 

148 


CYMBELINE  Act  V.  Sc.  v. 

Cym.  The  forlorn  soldier  that  so  nobly  fought, 

He  would  have  well  becomed  this  place  and  graced 
The  thankings  of  a  king. 

Post.  I  am,  sir. 

The  soldier  that  did  company  these  three 

In  poor  beseeming ;   'twas  a  fitment  for 

The  purpose  I  then  foUow'd.    That  I  was  he,  410 

Speak,  lachimo :   I  had  you  down,  and  might 

Have  made  you  finish. 

lach.  [Kneeling]   I  am  down  again: 

But  now  my  heavy  conscience  sinks  my  knee, 

As  then  your  force  did.    Take  that  life,  beseech  you. 

Which  I  so  often  owe :  but  your  ring  first ; 

And  here  the  bracelet  of  the  truest  princess 

That  ever  swore  her  faith. 

Post.  Kneel  not  to  me : 

The  power  that  I  have  on  you  is  to  spare  you ; 
The  malice  towards  you  to  forgive  you :  live, 
And  deal  with  others  better. 

Cym.  Nobly  doom'd !  420 

We  '11  learn  our  freeness  of  a  son-in-law ; 
Pardon  's  the  word  to  all. 

^fi,^  You  holp  us,  sir. 

As  you  did  mean  indeed  to  be  our  brother ; 
Joy'd  are  we  that  you  are. 

Post.  Your  servant,  princes.     Good  my  lord  of  Rome, 
Call  forth  your  soothsayer :   as  I  slept,  methought 
Great  Jupiter,  upon  his  eagle  back'd, 
Appear'd  to  me,  with  other  spritely  shows 
Of  mine  own  kindred  :  when  I  waked,  I  found 
This  label  on  my  bosom  ;  whose  containing  430 

Is  so  from  sense  in  hardness,  that  I  can 
149 


Act  V.  Sc.  V.  CYMBELINE 

Make  no  collection  of  it :  let  him  show 
His  skill  in  the  construction. 

Luc.  Philarmonus ! 

Sooth.  Here,  my  good  lord. 

Luc.  Read,  and  declare  the  meaning. 

Sooth.    [Reads]   '  When  as  a  lion's  whelp  shall,  to 
himself  unknown,  without  seeking  find,  and  be 
embraced  by  a  piece  of  tender  air,  and  when 
from  a  stately  cedar  shall  be  lopped  branches, 
which,  being  dead  many  years,  shall  after  revive, 
be  jointed  to  the  old  stock  and  freshly  grow,  440 
then  shall  Posthumus  end  his  miseries,  Britain  be 
fortunate  and  flourish  in  peace  and  plenty.' 
Thou,  Leonatus,  art  the  lion's  whelp  ; 
The  fit  and  apt  construction  of  thy  name, 
Being  Leo-natus,  doth  import  so  much. 
[To  Cymbeline]   The  piece  of  tender  air,  thy  virtuous 

daughter. 
Which  we  call  '  mollis  aer  ' ;   and  '  mollis  aer  ' 
We  term  it  '  mulier  ' :  which  '  mulier  '  I  divine 
Is  this  most  constant  wife ;   who  even  now. 
Answering  the  letter  of  the  oracle,  450 

Unknown  to  you,  unsought,  were  clipp'd  about 
With  this  most  tender  air. 

Cym.  This  hath  some  seeming. 

Sooth.  The  lofty  cedar,  royal  Cymbeline, 

Personates  thee :  and  thy  lopp'd  branches  point 
Thy  two  sons  forth ;  who,  by  Belarius  stol'n, 
For  many  years  thought  dead,  are  now  revived, 
To  the  most  majestic  cedar  join'd,  whose  issue 
Promises  Britain  peace  and  plenty. 

Cym.  Well ; 

ISO 


CYMBELINE  Act  V.  Sc.  v. 

My  peace  we  will  begin.    And,  Caius  Lucius, 

Although  the  victor,  we  submit  to  Caesar  460 

And  to  the  Roman  empire,  promising 

To  pay  our  wonted  tribute,  from  the  which 

We  were  dissuaded  by  our  wicked  queen  ; 

Whom  heavens  in  justice  both  on  her  and  hers 

Have  laid  most  heavy  hand. 

Sooth.  The  fingers  of  the  powers  above  do  tune 
The  harmony  of  this  peace.    The  vision, 
Which  I  made  known  to  Lucius  ere  the  stroke 
Of  this  yet  scarce-cold  battle,  at  this  instant 
Is  full  accomplish'd ;  for  the  Roman  eagle,  470 

From  south  to  west  on  wing  soaring  aloft, 
Lessen'd  herself  and  in  the  beams  o'  the  sun 
So  vanish'd  :  which  foreshow'd  our  princely  eagle, 
The  imperial  Csesar,  should  again  unite 
His  favour  with  the  radiant  Cymbeline, 
Which  shines  here  in  the  west. 

Cym.  Laud  we  the  gods  ; 

And  let  our  crooked  smokes  climb  to  their  nostrils 
From  our  blest  altars.     Publish  we  this  peace 
To  all  our  subjects.     Set  we  forward  :  let 
A  Roman  and  a  British  ensign  wave  '    480 

FriendJy  together  :  so  through  Lud's  town  march  ; 
And  in  the  temple  of  great  Jupiter 
Our  peace  we  '11  ratify ;  seal  it  with  feasts. 
Set  on  there  !    Never  was  a  war  did  cease, 
Ere  bloody  hands  were  wash'd,  with  such  a  peace. 

{Exeunt. 


151 


CYMBELINE 


Glossary. 


Abode;  "desire  my  man's  a.," 
i.e.  bid  my  servant  to  stay;  I. 
vi.  53- 

Absolute,  absolutely  certain, 
positive ;  IV.  ii.  io6. 

Abuse,  deceive;  I.  vi.  131;  IV. 

ii.  351- 
Abused,   deceived;    I.   iv.    120; 

III.  iv.  105. 

Act,  action,  operation;  I.  v.  22. 

Action,  state,  course;  V.  iv. 
150. 

Adjourn' d,  deferred;  V.  iv.  78. 

Admiration,  wonder,  astonish- 
ment; I.  iv.  5;  I.  vi.  38. 

,   veneration   and  wonder ; 

IV.  ii.  232. 

Adorer,  idolator ;  I.  iv.  72. 
Adventure,  run  the   risk;   III. 

iv.  156. 
Adventured,    dared,    ventured; 

I.  vi.  172. 
Advice;    "best    a.,"    deliberate 

consideration;  I.  i.  156. 
Afeard,  afraid;  IV.  ii.  94. 
Affected,  loved;  V.  v.  38. 
Affiance,  fidelity;  I.  vi.  163. 
Affirmation;       "bloody       a.," 

"  sealing  the   truth   with   his 

blood  "  ;  I.  iv.  62. 
Affront;    "gave   the    a.,"    con- 
fronted the  enemy ;  V.  iii.  87. 

,  confront ;  IV.  iii.  29. 

Afric,  Africa ;  I.  i.  167. 

After,  afterwards;  I.  v.  80;  I. 

vi.  50;  II.  iii.  18. 


After,  according  to ;  IV.  ii.  334. 
After-eye,  look  after ;  I.  iii.  16. 
Air's  from,  air  there  is  away 

from ;  III.  iii.  29. 
Albeit,  although;  II.  iii.  60. 
Allow' d,     acknowledged;     III. 

iii.  17. 
Amazed,  confused;  IV.  iii.  28. 
Amend,  make  better;  V.  v.  216. 
Ancient,  old,  aged;  V.  iii.  15. 
Andirons,  irons  at  the  side  of 

the  fire-place ;  II.  iv.  88. 


From  an  Italian  specimen  formerly  in 
the  palace  of  Count  Brancaleone. 


152 


CYMBELINE 


Glossary 


Anney,  harm;  IV.  iii.  34. 
Anszver,    punishment ;    IV.    iv. 

13- 

,  return,  retahation ;  V.  iii. 

79- 

,  correspond  to;  IV.  ii.  192. 

Answer' d  him,  done  Hke  him ; 

V.  iii.  Qi. 
Ape,  mimic,  imitator;  II.  ii.  31. 
Apparent,  plain,  evident;  II.  iv. 

Apprehension,  conception ;  IV. 
ii.  no. 

Approbation,  attestation ;  I.  iv. 
I  130. 

Approve,  prove;  IV.  ii.  380;  V. 
V.  245. 

Approvers;  "  their  a.."  those 
who  make  trial  of  their  cour- 
age;  II.  iv.  25. 

Arabian  bird,  the  phoenix;  I. 
vi.  17. 

Arm,   take   up   into   the   arms ; 

IV.  ii.  400. 

Arras,  hangings  of  tapestry;  II. 

ii.  26. 
As,  for;  I.  vi.  130. 

,  like;  II.  iv.  84. 

,  as  if;  IV.  ii.  50;  V.  ii.  16; 

V.  iv.  116. 

Assumed,  put  on;  V.  v.  319. 

At,  on;  III.  iv.  193. 

Atone,  reconcile;  I.  iv.  41. 

Attemptable,  open  to  tempta- 
tion; I.  iv.  6i. 

Attended,  listened  to;  I.  vi.  142. 

Attending,  doing  service;  III. 
iii.  22. 

,  awaiting ;  V.  iv.  38. 

Averring,  alleging;  V.  v.  203. 

Avoid!  begone!  away!  I.  i.  125. 


Back'd,  seated  upon  the  back 
of ;  V.  v.  427. 

Base,  a  game  in  which  the 
quickest  runner  is  the  win- 
ner; V.  iii.  20. 

Basilisk,  the  fabulous  monster 
whose  look  was  supposed  to 
strike  the  beholder  with 
death ;  II.  iv.  107. 


Basilisk. 

From  an  illuminated  MS.  of  XlVth 

cent. 

Bate,  beat   down,   deduct ;   III. 

ii.  56. 
Bay,  bark  at ;  V.  v.  223. 
Beastly,  like  beasts;  III.  iii.  40; 

V.  iii.  27. 
Becomed,  become ;  V.  v.  406. 
Behalf ;  "  in  the  clock's  b.,"  i.e. 

doing  the  service  of  a  clock; 

III.  ii.  75. 
Belch  from,  vomit  from ;  III.  v. 

137- 
Bent,  cast,  look;  I.  i.  13. 
Beseech,  I  beseech ;  I.  i.  153. 
Beseeming,   appearance;    V.   v. 

409. 
Betid,  happened    (Folios,   "  be- 

tide")  ;  IV.  iii.  40. 


153 


Glossary 


CYMBELINE 


Be  zvJiat  it  is;  let  it  be  what  it 
may ;  V.  iv.  149. 

Beyond  nature,  which  are  im- 
mortal ;  V.  V.  165. 

Bier;  IV.  ii.  22.  (See  illustra- 
tion.) 


Bring,  accompany,  escort ;  I.  i. 

171. 
Brogues,   thick    shoes ;    IV.    ii. 

214. 
Bugs,  bugbears;  V.  iii.  51. 
But,  except,  without;  V.  v.  311. 


From  an  early  XVIIth  century  specimen,  till  recently  preserved  at  the  Churcl 
of  St.  Nicholas,  Gloucester. 


Bloods,  temperaments;  I.  i.  i. 
Bold,  sure,  confident;  II.  iv.  2. 
Bondage,  obligation;  II.  iv.  iii. 
Book,  tablet;  V.  iv.  133.     (See 

Notes.) 
Boo*;  "  to  b.,"  in  addition ;  I.  v. 

69;  II.  iii.  34. 
Bore  in  hand,  falsely  pretended, 

abused  with  false  hopes ;  V. 

V.  43- 
Bow,  makes  to  bow ;  III.  iii.  3. 
,  stoop  in  entering;  III.  iii. 

83. 
Brain  not,  do  not  understand; 

V.  iv.  147. 
Brands,  torches;  II.  iv.  91. 
Bravely,  well;  II.  ii.  15. 
Bravery,   "  state   of   defiance  "  ; 

III.  i.  18. 
Brawns,  arms;  IV.  ii.  311. 
Breeding,  life ;  V.  iii.  17. 


The  arms  of  the  old  Irish  family  of 
Arthure. 

By,  from;  II.  iv.  77,  78;  III.  v. 
58. 

By-dependances,  accessory  cir- 
cumstances ;  V.  v.  390. 


154 


CYMBELINE 


Glossary 


By-pceping,  looking  aside,  side- 
long glances  (Johnson  conj., 
adopted  by  Steevens,  1773, 
"lye  peeping";  Collier  MS., 
"bo-peeping" ;  Keightley, 
"bide  peeping";  etc.,  etc.); 
I.  vi.  108. 

Calves' -guts,  fiddle-strings;  II. 

iii.  32. 
Capon,  perhaps  used  quibbling- 

ly  for  "  cap  on,"  i.e.  "  with  a 

coxcomb  "  ;  II.  i.  25. 
Carl,  churl,  peasant ;  V.  ii.  4. 
Carriage ;   "  your   c,"   carrying 

you  off;  III.  iv.  190. 
Cased,  covered ;  V.  iii.  22. 
Cave,  live  in  a  cave ;  IV.  ii.  138. 
Cave-keeper,  one  who  lives  in  a 

cave ;  IV.  ii.  298. 
Century,  hundred;  IV.  ii.  391. 
Certainty,   certain   results;    IV. 

iv.  27. 
Chaiflcss,  without  chaff ;   I.  vi. 

178. 
Chance,     event,     circumstance ; 

V.  V.  391. 
Change    you,    do    you    change 

colour;  I.  vi.  11. 
Characters,    handwriting;    III. 

ii.  28. 

,  letters ;  IV.  ii.  49. 

Charge,  burden,  take  hold  of; 

III.  iv.  44- 
Charm' d,    made    invulnerable ; 

V.  iii.  68. 
Charming,  having  magical,  pro- 
tecting power ;  I.  iii.  35. 
;  "more  c,"  i.e.  charming 

more,       bewitching       others 

more;  V.  iii.  z^. 
Check,  reproof;  III.  iii.  22. 


Cinque-spotted,  with  five  spots; 
II.  ii.  38. 

Circumstances,  details,  particu- 
lars ;  II.  iv.  62. 

Citizen,  cockney-bred,  effemi- 
nate ;  IV.  ii.  8. 

Civil,  civilized ;  III.  vi.  22,. 

Clean,  altogether ;  III.  vi.  20. 

Clipp'd,  surrounded,  encircled; 
II.  iii.  139. 

Clipp'd  about,  embraced ;  V.  v. 
451. 

Close,  secret ;  III.  v.  85. 

Closet,  private  chamber;  I.  v. 
84. 

Cloth,  dress,  livery;  II.  iii.  128. 

Clotpoll,  head;  IV.  ii.  184. 

Clouted  brogues,  hob-nailed 
boots ;  IV.  ii.  214. 

Cloys,  strokes  with  his  claws ; 
V.  iv.  118. 

Cognizance,  visible  token;  II. 
iv.  127. 

Collection  of,  inference  from; 
V.  V.  432. 

Colour;  "  against  all  c,"  con- 
trary to  all  appearance  of 
right;  III.  i.  51. 

Colours;  "  under  her  c,"  i.e. 
"  under  her  banner,  by  her 
influence  "  ;  I.  iv.  20. 

Comfort,  happiness,  joy;  V.  v. 
403. 

Common-kissing,  kissing  any- 
thing and  everything;  III.  iv. 
166. 

Companion,  fellow  (used  con- 
temptuously) ;  II.  i.  28. 

Company,  accompany ;  V.  v. 
408. 

Comparative  for,  comparing 
with;  II.  iii.  133. 


155 


Glossary 


CYMBELINE 


Conclusions,  experiments ;  I.  v 

i8. 
Condition,  character ;  V.  v.  165 
Conduct,   escort,   safe-conduct ; 

III.  V.  8. 
Confections,      composition      of 

drugs;  I.  v.  15;  V.  v.  246. 
Confident;  "  three  thousand  c," 


Convince,  overcome;  I.  iv,  loi. 
Cordial,  reviving  to  the  spirits ; 

I.  V.  64. 
Counter  change,    exchange ;    V. 

V.  396. 
Counters,  round  pieces  of  metal 

used   in   calculations ;   V.   iv. 

174. 


From  an  engraving  in  Knight's  Pictorial  Shakcspe 


with  the  confidence  of  three 
thousand;  V.  iii.  29. 
Confiners,    borderers;     IV.    ii. 

Confounded,    destroyed;    I.    iv. 

53. 
Consequence,     succession ;     II. 

iii.  125. 
Consider,  pay,   reward ;   II.   iii. 

31. 
,    take    into    consideration ; 

V.  v.  28. 
Constant-qualitied,    faithful ;    I. 

iv.  63. 
Construction,       interpretation ; 

V.  V.  433. 
Consummation,  end,  death ;  IV. 

ii.  280. 
Containing;    "  whose    c,"    the 

contents  of  which ;  V.  v.  430. 
Cotitent  thee,  trouble  not  thy- 
self about  it ;  I.  v.  26. 
Convey' d,  stolen ;  I.  i.  63. 


Crack' d,  blustered,  bragged;  V. 
V.  177. 

,  broken ;  V.  v.  207. 

Crarc,    skiff,     a     small     vessel 


From  an  illuminated  MS.  XVth  cent. 

(Sympson's  conj.,  adopted 
by  Steevens;  Folios,  "care"; 
Warburton,        adopted        by 


156 


CYMBELINE 


Glossary 


Theobald,  ''  carrack  " ;  Han- 
mer,  "  carack")  ;  IV.  ii.  205. 

Crescent,  increasing,  growing; 
I.  iv.  2. 

Crop,  harvest,   produce;    I.   vi. 

33- 
Curb'd,  restrained;  II.  iii.  124. 
Curious,  careful;  I.  vi.  191. 
Cutter,  sculptor;  II.  iv.  83. 
Cydnus,  a  river  in  Cilicia ;  II. 

iv.  71. 
Cytherea,  Venus ;  II.  ii.  14. 

Damm'd,  stopped  up;  V.  iii.  11. 
Dark,   mean,   obscure;    III.   iv. 

147- 

Dear,  deeply  felt ;  V.  v.  345. 

Debitor  and  creditor,  account 
book;  V.  iv.  171. 

Decay,  destroy;  I.  v.  56. 

Defect;  "  d.  of  judgement,"  i.e. 
"the  defective  use  of  judge- 
ment" (Ingleby)  ;  IV.  ii.  iii. 

Definite,  resolute ;  I.  vi.  43. 

Delicate,  alluring;  (?)  ingen- 
ious, artful ;  V.  v.  47. 

Delighted,  delightful;  V.  iv. 
102. 

Depend,  impend,  remain  in  sus- 
pense; ly.  iii.  23. 

Depending,  resting,  leaning;  II. 
iv.  91. 

Desperate;  "  upon  a  d.  bed," 
dangerously  ill  l  IV.  iii.  6. 

Despite;  "  in  my  d.,"  in  defiance 
of  me;  IV.  i.  16. 

Die  the  death,  die  a  violent 
death ;  IV.  ii.  96. 

Differing  multitudes,  wavering 
multitudes,  fickle  mobs;  III. 
vi.  86. 


Discover,  disclose,  confess ;  1. 
vi.  98;  III.  V.  95. 

Disedged,  surfeited;  III.  iv.  96. 

Dismission,  rejection,  dismiss- 
al; II.  iii.  56. 

Dooni'd,  decided ;  V.  v.  420. 

Doubting,  suspecting  that ;  I,  vi. 
95. 

Drawn,  tapped,  emptied;  V.  iv. 
168. 

Drawn  to  head,  gathered  to- 
gether, levied;  III.  v.  25. 

Drug-damn'd,  detested  for  its 
drugs  and  poisons;  III.  iv.  15. 

Earnest,  money  paid  before- 
hand as  a  pledge ;  I.  v.  65. 

Elder,  elder-tree ;  IV.  ii.  59. 

Elder,  i.e.  later,  of  more  recent 
date;  V.  i.  14. 

Elected,  chosen;  III,  iv.  II2. 

Election,  choice ;  I.  ii.  30. 

Empery,  empire;  I.  vi.  120. 

Enchafed,  enraged;  IV.  ii.  174. 

Encounter,  meet;  I.  iii.  32, 

,  meet  with;  I.  vi.  112. 

Ended,  died;  V.  v.  30. 

Enforce,  force,  compel ;  IV.  iii. 
II. 

Enforced,  forced ;  IV.  i.  19. 

Enlargement,  liberty;  II.  iii. 
125. 

Entertain,  take  into  service ; 
IV.  ii.  394. 

Estate,  state,   condition ;   V.  v. 

74. 
Even,  keep  pace  with,  profit  by ; 

III.  iv.  184. 

,  just;  III.  vi.  16. 

Event,  issue,  result;  III.  v.  14. 
Ever,  ever  ready;  I.  iv.  38. 
Exhibition,  allowance;  I.  vi.  122. 


157 


Glossary 


CYMBELINE 


Exorciser,  conj  urer ;  IV.  ii.  276. 

Extend;  "  to  e.  him,"  i.e.  to  in- 
crease his  reputation ;  I.  iv.  21. 

;  "I  do  e.  him  within  him- 
self," i.e.  I  praise  him  not 
more,  but  even  less,  than  he 
deserves ;  I.  i.  25. 

Extremity,  cruelty;  III.  iv.  17. 

Fail,  fault,  offence  (Upton 
conj.  "fall")',  III.  iv.  66. 

Fairies,  evil  fairies ;  II.  ii.  9. 

Fall'n-off,  revolted;  III.  vii.  6. 

False,  turn  false ;  II.  iii.  ys- 

Fan,  winnow,  test;   I.  vi.    177. 

Fangled,  gaudily  ornamented; 
V.  iv.  134. 

Far;  "  speak  him  f.,"  praise 
him  highly  (Folios  3,  4, 
"fair");  I.  i.  24. 

Fast,  fasted  (Folios  2,  3,  4, 
"  feast "  ;  Hanmer,  "  fast- 
ing" ;  etc.)  ;  IV.  ii.  347. 

Fatherly,  in  a  fatherly  way;  II. 
iii.  38. 

Favour,  beauty,  charm ;  I.  vi. 
42. 

Favour,  external  appearance ; 
IV.  ii.  104. 

,  countenance;  V.  v.  93. 

Fear,  fear  for ;  I.  iv.  104. 

Fear'd,  mixed  with  fear  (Tyr- 
whitt  conj.,  adopted  by 
Knight,  "sear'd";  Hudson, 
"  sere  "  ;  Elze.  conj .  "  dear  " ; 
etc.,  etc.)  ;  II.  iv.  6. 

Fearful,  full  of  fear;  III.  iv.  45. 

Feat,  dexterous,  neat;  V.  v.  88. 

Feated,  fashioned  (Rowe, 
"  f  eatur'  d"  \  Johnson, 
"  feared  ")  \  I.  i.  49. 


Feature,  shape,  exterior;  V.  v. 

163. 
Fell,  cruel ;  IV.  ii,  109. 
Fellows,   equals   in   rank;    III. 

iv.  93. 
Feodary,  accomplice;  III.  ii.  21. 
Fetch,  take,  I.  i.  81. 
Fetch  in,  take,  capture ;  IV.  ii. 

141. 
Fit,  ready;  III.  iv.  171. 
Fitment,  equipment;  V.  v.  409. 
Fits,  befits;  III.  v.  22. 
Fitted,  prepared;  V.  v.  55. 
Fitting,  befitting,  becoming;  V. 

V.  98. 
Foot,  kick;  III.  v.  149. 
For,  as  for;  II.  iii.  116;  V.  iii. 

80. 
,   fit   for,   only  worthy  of; 

II.  iii.   127. 
,  because;  III.  iv.  54;  IV. 

ii.  129. 

,  for  want  of;  III.  vi.  17. 

For  all,  once  for  all ;  II.  iii.  no. 
Fore-end,  earlier  part;  III.  iii. 

72,- 

Forespent,  previously  bestow- 
ed; II.  iii.  6z. 

Forestall,  deprive;  III.  v.  69. 

Fore-thinking,  fore-seeing,  an- 
ticipating; III.  iv.  171. 

Forfeitcrs,  those  who  forfeit 
their  bonds;  III.  ii.  38. 

Forfend,  forbid;  V.  v.  287. 

Forlorn,  lost,  not  to  be  found; 
V.  V.  405. 

Foundations,  "quibbling  be- 
tween fixed  places  and  chari- 
table institutions" 
(Schmidt)  ;  III.  vi.  7- 

Fragments,  scraps,  remnants  of 
food;  V.  iii.  44. 


158 


CYMBELINE 

Frame  to,  conform;  II.  iii.  50. 

Franchise,  free  exercise;  III. 
i.  S7- 

Franklin,  yeoman;  III.  ii.  79. 

Fraught,  burden;  I.  i.  126. 

Freeness,  generosity;  V.  v.  421. 

Fretted,  ornamented,  emboss- 
ed ;  II.  iv.  88. 

Friend,  lover;  I.  iv.  72. 

;  "to  fr.,"  for  my  friend; 

I.  iv.  112. 

Friendly,  in  a  friendly  manner ; 
V.  v.  481. 

Frighted,  affrighted,  fright- 
ened; II.  iii.  144. 

From,  away  from ;  I.  iv.  17. 

,  far  from;  V.  v.  431. 

Full  hearted,  full  of  courage 
and  confidence;   V.   iii.  7. 

Funics,   delusions;   IV.   ii.  301. 

Furnaces,  gives  forth  like  a 
furnace;  I.  vi.  66. 

Gain;  "g.  his  colour,"  i.e.  "to 

restore  him  to  health  " ;  IV. 

ii.  167. 
Gallowses,  gallows ;  V.  iv.  210. 
'Gan,  began;  V.  iii.  ;^y. 
Geek,  dupe;  V.  iv.  67. 
Gentle,  of  gentle  birth;  IV.  ii. 

39- 
Giglot,  false,  wanton;  III.  i.  31. 
'Gins,  begins;  II.  iii.  22. 
Give  me  leave,  pardon  me ;  V. 

V.  149. 
Given  out,  reported,  made  out; 

V.  V.  312. 
Go   hack,   succumb,   give   way; 

I.  iv.   no. 
Go  before,  excel ;  V.  ii.  ^- 
Go  even,  accord;  I.  iv.  46. 


Glossary 

Gordian    knot,    the    celebrated 

knot    untied    by    Alexander; 

II.  ii.  34. 
Great    court,    important    court 

business ;   III.  v.  50. 
Great  morning,  broad  day;  IV. 

ii.  61. 
Guise,  practice ;  V.  i.  2>^. 
Gyves,  fetters ;  V.  iv.  14. 

Habits,  garments;  V.  i.  30. 

Hand-fast,  marriage  engage- 
ment ;  I.  V.  78. 

Hangings,  hanging  fruit;  III. 
iii.  63. 

Haply,    perhaps;    III.    iii.    29; 

IV.  i.  21. 

Happy,  skilful,  gifted;   III.  iv. 

177- 
Harder,  too  hard;  III.  iv.  164. 
Hardiment,  boldness,   bravery; 

V.  iv.  75. 

Hardiness,      hardihood,       bra- 
very; III.  vi.  22. 
Hardness,  hardship,  want;  III. 

vi.  21. 
Have  at  it,  I'll  tell  my  story; 

V.  V.  315. 
Have  zvith  you!  Take  me  with 

you!  IV.  iv.  50. 
Having,  possessions ;   I.  ii.    19. 
Haviour,  behaviour;  III.  iv.  9. 
Head,  armed  force;  IV.  ii.  139. 
Heaved  to  head,  raised  to  my 

lips;  V.  V.  157. 
Hecuba,    the    wife    of    Priam; 

IV.  ii.  313. 
Herblets,   small   herbs;    IV.   ii 

287. 
Hie   thee,   hasten ;    II.    iii.    142. 
Hilding,  mean  wretch;   II.   iii. 

127. 


159 


Glossary 


CYMBELINE 


Hind,  boor,  serf;  V.  lii.  77. 
Hold,  fastness ;  III.  vi.  18. 
Holp,  did  help,  V.  v.  422. 
Home,  thoroughly ;  III.  v.  92. 
Horse-hairs,  fiddle-bow ;  II.  iii. 

32. 

How    much,    however    much ; 

IV.  ii.  17. 
Hunt,  game  taken  in  the  chase ; 

III.  vi.  90. 

Ignorant,  silly,  inexperienced ; 
III.  i.  27. 

Imperceiverant,  dull  of  percep- 
tion (Folios,  "  imperseuer- 
ant " — probably  the  correct 
reading;  Hanmer,  "  ill-per- 
severant")  ;  IV.  i.  15. 

Imperious,  imperial ;  IV.  ii.  35. 

Importance,  import,  occasion  ;  I. 
iv.  44- 

Importantly,  with  matters  of 
such  importance ;  IV.  iv.  19. 

In,  into;  III.  vi.  64. 

Incivil,  uncivil ;  V.  v.  292. 

Injurious,     malicious,     unjust; 

III.  i.   48. 

Injurious,    insulting,    insolent ; 

IV.  ii.  86. 

Instruct,  inform ;  IV.  ii.  360. 
Insultment,  insult;  III.  v.  145. 
Into,  unto;  I.  vi.  167. 
Irregulous,    lawless,    unprinci- 
pled; IV.  ii.  315. 
Is,  is  in  existence ;  I.  iv.  79. 
Issues,  deeds,  actions ;  II.  i.  50. 
It,  its;  III.  iv.  160. 

lack,  a  small  bowl  at  which  the 
players  aimed  in  the  game 
of  bowls;  "to  kiss  the  jack" 
is  to  have  touched  the  jack, 


and  to  be  in  excellent  posi- 
tion; II.  i.  2. 

lack-slave,  lowborn  fellow  (a 
term  of  contempt)  ;  II.  i.  21. 

lay,  a  loose  woman  (a  term  of 
reproach)  ;  III.  iv.  51. 

lealousy,  suspicion ;  IV.  iii.  22. 

let,  strut;  III.  iii.  5. 

loin;  "j.  his  honour,"  i.e. 
"  gave  his  noble  aid  " ;   I.  \. 

29. 

lournal,  diurnal,  daily;  IV.  ii. 

10. 
love's-hird,  the  Roman  eagle; 

IV.  ii.  348.  (See  illustration.) 


From  a  coin  of  Domitian. 

lovial;  "our  J.  star"  (in  the 
old  astrology,  Jupiter  was 
"the  joyfullest  star,  and  of 
the  happiest  augury  of  all," 
hence  propitious,  kindly)  ; 
V.  iv.  105. 

lovial,  Jove-like;  IV.  ii.  311- 

loy'd,  rejoiced;  V.  v.  424. 

lump,  risk;  V.  iv.  186. 

lusticer,  judge;  V.  v.  214. 

Keep  house,  stay  at  home;  III. 
iii.   I. 


160 


CYMBELINE 


Glossary 


Ken;  "within  a  k.,"  within 
sight;  III.  vi.  6. 

Kitchen-trulls,  kitchen-maids ; 
V.  V.  177- 

Knowing,  knowledge;  I.  iv.  30; 
II.  iii.  loi. 

Knozvn  together,  been  ac- 
quainted with  each  other ;  I. 
iv.  2>^. 

Label,  tablet;  V.  v.  430, 
Lahoursome,  elaborate ;  III.  iv. 

167. 
Lady;     "my     good     1.."      (?) 

friend;    used    ironically;    II. 

iii.  157- 

Laming,  crippling ;  V.  v.  163. 

Lapp'd,  wrapped,  enfolded ;  V. 
v.  360. 

Late,  lately;  I.  i.  6;  II.  ii.  44. 

Laud  we,  let  us  praise;  V.  v. 
476. 

Lay,  wager;  I.  iv.  154. 

Lay  the  leaven  on,  corrupt  and 
deprave ;  III.  iv.  64. 

Lean'd  unto,  bowed  to,  submit- 
ted to ;  I.  i.  78. 

Leans,  is  about  to  fall ;  I.  v.  58. 

Learn' d,  taught;  I.  v.  12. 

Leave ;  "  by  1.,"  with  your  per- 
mission; V.  V.  315. 

,    leave    off,    cease,    I.    iv. 

106. 

Left,  left  off;  I.  iii.  15. 

,  left  off  reading;  II.  ii.  4. 

Less;  "  without  1.,"  without 
more,  with  less  (probably  to 
be  explained  as  a  double 
negative)  ;  I.  iv.  23. 

Let  blood,  let  suffer,  perish ; 
IV.  ii.  168. 


Liegers,  ambassadors  (Folios, 
"  Leidgers")  ;  I.  v.  80. 

Like,  equal ;  I.  i.  21 ;  V.  v.  75. 

,  the  same ;  IV.  ii.  237. 

,  likely;  II.  iv.  16. 

,  equally;  III.  iii.  41. 

Limb-meal,  limb  from  limb;  II. 
iv.   147. 

Line,  fill  with  gold;  II.  iii.  71. 

Long  of,  through,  owing  to; 
V.  v.  271. 

Looks  us,  seems  to  us;  III.  v. 
2,2. 

Lucina,  the  goddess  of  child- 
birth ;  V.  iv.  43. 

Liid's  tozvn,  the  old  name  of 
London ;  III.  i.  2,'^. 

Madded,     maddened ;     IV.     ii. 

313- 
Madding,    maddening,    making 

mad;  II.  ii.  2,7- 
Made  finish,  put  an  end  to;  V. 

V.  412. 
Makes,  produces,  causes ;  I.  vi. 

38. 
Martial,  resembling  Mars ;  IV. 

ii.  310. 
Mary-buds,   marigolds ;    II.   iii. 

25- 
Match,    arrangement;    III.    vi. 

30. 
Matter,  business ;  IV.  iii.  28. 
Mean  affairs,  ordinary  affairs ; 

III.  ii.  52. 
Means;  "your  m.,"  as  to  your 

means ;  III.  iv.  180. 
Mercurial;      "  foot      m.,"     i.e. 

"  light   and  nimble   like  that 

of  Mercury";  IV.  ii.  310. 
Alere,  utter;  IV.  i.  92. 
Mere,  only;  V.  v.  334. 


161 


Glossary 


CYMBELINE 


Mineral,  poison  ;  V.  v.  50. 
Minion,  darling,  favourite ;  II. 

iii.  45. 
Misery;     "noble     m.,"     miser- 
able nobility;  V.  iii.  64. 
Moe,  more;  III.  i.  36. 
Moiety,  half;  I.  iv.  114. 
Mortal,  deadly,  fatal;  I.  iv.  43. 
Motion,  impulse;  II.  v.  20. 
Motives;  "your  three  m.,"  the 

motives  of  you  three;  V.  v. 

388. 
Move,  induce ;  I.  i.  103. 
Moved,  incited,  instigated;  V. 

v.  342. 
Mows,  grimaces,  wry  faces ;  I. 

vi.  41. 
Mulier       (fancifully       derived 

from   "mollis  aer"))    V.   v. 

447. 
Mutest,  most  silent;  I.  vi.  116. 

Naught,  wicked;  V.  v.  271. 
Neat-herd,  keeper  of  cattle;  I. 

i.  149. 
Nice,  capricious ;  II.  v.  26. 
Niceness,  coyness;  III.  iv.  158. 
Nonpareil,   paragon;    II.    v.    8. 
North,  north-wind;  I.  iii.  2>^. 
Note,  reputation;  I.  iv.  2. 
,    list;    (?)    "prescription, 

receipt  " ;  I.  v.  2. 

,  eminence;  II.  iii.  126. 

,  notice,  attention;  IV.  iii. 

44. 
;    "our  n.,"   taking   notice 

of  us ;  IV.  iv.  M. 
,  take  note,  notice;   II.   ii. 

24. 
Nothing,  not  at  all ;  I.  iv.  103. 
Nothing-gift,  p'ft  of  no  value; 

III.  vi.  86. 


Now,  just  now;  V.  iii.  74. 
Number  d,    abundantly     provi- 
ded ;  I.  vi.  36. 

Occasions;  "over  his  o.,''  (?) 
="  in  regard  to  what  was  re- 
quired " ;  according  to 
some,  "  beyond  what  was  re- 
quired "  ;  V.  V.  87. 

'Ods  pittikins,  a  petty  oath ;  IV. 
ii.  293. 

O'ergrown,  overgrown  with 
hair  and  beard;  IV.  iv.  ZZ- 

Of,  with;  I.  vi.  150. 

,  on;  II.  iii.  118;  IV.  iv.  48. 

,   by;    II.   iii.   137;   III.  vi. 

55 ;   IV.  iv.  22 ;   V.  v.  346. 

,  over;  IV.  i.  23. 

,  about,  in  praise  of;  V.  v. 

177- 
Offer'd;  "  o.  mercy,"    (?)   par- 
don granted  (but  coming  too 

late)  ;  I.  iii.  4. 
On,  of;  I.  V.  75;  III.  iv.  43;  IV. 

ii.  198. 
On's,  of  us  (Folio  i,  "one's"; 

Steevens,  "  of  us  " ;  Vaughan 

conj.  "  0'  us")  ;  V.  v.  311. 
On't,  of  it;  I.  i.  164;  V.  ii.  3. 
Open'd,  disclosed;  V.  v.  58. 
Operate,  to  set  to  work,  to  be 

active ;  V.  v.  197. 
Or,  before ;  II.  iv.  14. 
Orbs,  orbits;  V.  v.  371. 
Order' d;     "  more     o.,"     better 

regulated  and  disciplined;  II. 

iv.  21. 
Orderly,  proper;  II.  iii.  51. 
Ordinance,   what   is   ordained; 

IV.  ii.  145. 
Or  ere,  before;  III.  ii.  67. 
,  rather  than;  V.  iii.  50. 


162 


I 


CYMBELINE 


Glossary 


Out-peer,  excel ;  III.  vi.  87. 
Outsell,  exceed  in  value ;  II.  iv. 

102. 
Outsells,  outvalues,  is  superior 

to;  III.  V.  74. 
Outstood,     overstayed;     I.     vi. 

207. 
Outward,  external  appearance ; 

I.  i.  23. 

Overbuys,     pays     too     dear     a 

price ;  I.  i.  146. 
Owe,  own,  III.  i.  38. 

Packing,     running     off;      (?) 

plotting;  III.  V.  80. 
Paid,  punished;  IV.  ii.  246. 
Paled  in,  surrounded;  III  i.  19. 
Pandar,  accomplice;  III.  iv.  z^. 
Pang'd,  pained ;  III.  iv.  98. 
P antler,  keeper  of  the  pantry; 

II.  iii.   128. 

Paragon,  pattern,  model;  III. 
vi.  44. 

Part;  "  for  mine  own  p.,"  for 
myself;  V.  v.  313. 

Parted,  departed ;  III.  vi.  52. 

Partisan,  halberd ;   IV.   ii.  399. 

Parts,  endowments;  III.  v.  Ji. 

Passable,  affording  free  pass- 
age ;  I.  ii.  10. 

Passage,  occurrence ;  III.  iv. 
94. 

Peculiar,  own  particular,  pri- 
vate; V.  v.  83. 

Peevish,  foolish;  I.  vi.  54. 

Penetrate,  touch;   II.   iii.   14. 

Penitent,  repentant;  V.  iv.   10. 

Perfect;  "  I  am  p.,"  I  am  per- 
fectly well  aware,  I  well 
know;  III.  i.  y^. 

,  perfectly  well  aware;  IV. 

ii.  118. 


Perforce,  by  force ;  III.  i.  ^2. 
Pervert,  averted;  II.  iv.  151. 
Pinch,  pain,  pang;  I.  i.  130. 
Pleaseth,  if  it  please;  I.  v.  5. 
Point;  "at  p.,"  on  the  point  of; 

III.  i.  30;  III.  vi.  17, 

Point    forth,    indicate;    V.    v. 

454- 
Post,  hasten;  V.  v.  192. 
Posting,  hurrying;  III.  iv.  38. 
Postures,  shapes,  forms ;  V.  v. 

165. 
Powers,  armed  forces ;   III.  v. 

24. 
Practice,  plot,  stratagem ;  V.  v. 

199. 
Prefer,  recommend;  II.  iii.  50; 

IV.  ii.  386. 

,  promote ;  V.  v.  326. 

Preferment,  promotion;  V.  iv. 

212. 
Pregnant,  evident;  IV.  ii,  325. 
Presently,  immediately;  II.  iii. 

142. 
Pretty,  fair,  advantageous;  III. 

iv.   150. 
Prides,  (?)  ostentatious  attire; 

II.  V.  25. 

Priest,  priestess ;  I.  vi.   133. 

Prince,  play  the  prince;  III.  iii. 
85. 

Prize,  value  (Hanmer,  "price" ; 
Vaughan,  "peize");  III.  vi. 
77- 

Probation,  proof;  V.  v.  362. 

Profess  myself,  proclaim  my- 
self (by  the  exuberance  of 
my  praise)  ;  I.  iv.  71. 

Prone,  eager,  ready;  V.  iv.  204. 

Proof,    experience ;    I.    vi.    70 ; 

III.  iii.  27. 

Proper,  handsome;  III.  iv.  64. 


163 


Glossary 


CYMBELINE 


Proper,  own ;  IV.  ii.  97. 
Prunes,  arranges   his  plumage 

with  his  bill ;  V.  iv.  118. 
Pudency,  modesty;  II.  v.  11. 
Put  on,  incite  to,  instigate;  V. 

i.  9. 
Puttock,  kite ;  I.  i.  140. 

Quarrelous,   quarrelsome ;    III. 

iv.  162. 
Quarter' d  Hres,  camp  fires ;  IV. 

iv.  18. 
Quench,  become  cool ;  I.  v.  47. 
Question,  put  to  the  trial,  i.e. 

fight  a  duel ;  II.  iv.  52. 

Ramps,  leaps;  I.  vi.  134. 

Rangers,  nymphs ;  II.  iii.  yz- 

Rank,  rankness  (used  q  u  i  b- 
blingly)  ;  II.  i.  16. 

Raps,  transports;  I.  vi.  51. 

Rare,  overpowering,  exquisite ; 
I.  i.  135- 

Ravening,  devouring  greedily; 
I.  vi.  49. 

Razed  out,  erased  (Folios, 
"  rac'd  out")  ;  V.  v.  70. 

Right,  truly;  III.  v.  3. 

Ripely,  speedily ;  III.  v.  22. 

Ready,  i.e.  dressed  for  going 
out,  ready  dressed  (taken 
quibblingly  in  the  more  ordi- 
nary sense  in  the  reply)  ;  II. 
iii.  85. 

Reason  of,  argue  about,  talk 
about;  IV.  ii.  14. 

Reck,  care;  IV.  ii.  154. 

Recoil,  degenerate ;  I.  vi.  128. 

Reft'st,  didst  deprive  (Folios, 
"refts")',  III.  iii.  103. 

Relation,  hearsay,  report;  II. 
iv.  86. 


Remain,  remainder,  rest ;  III. 
i.  87. 

Remainders ;  "  the  good  r.  of 
the  court,"  i.e.  "the  court 
which  now  gets  rid  of  my 
unworthiness  "  (used  ironic- 
ally) ;  I.  i.  129. 

Remembrancer  of  her,  he  who 
reminds  her;  I.  v.  yj. 

Render,  rendering  an  account ; 
IV.  iv.   II. 

,  surrender;  V.  iv.  17. 

,  relate,  tell ;  V.  v.  135. 

Repented,  regretted;   V.  v.  59. 

Report;  "  suffer  the  r.,"  may 
be  told ;  I.  iv.  58. 

,  fame;  III.  iii.  57, 

Resty,  torpid;  III.  vi.  34. 

Retire,  retreat ;  V.  iii.  40. 

Revolt,  inconstancy;  I.  vi.  112. 

Revolts,     revolters,     deserters ; 

IV.  iv.  6. 

Rock,  rocky  eminence ;  "  such 
as  a  man  has  found  refuge 
on  in  shipwreck  "  (Ingleby)  ; 

V.  V.  262. 

Romish,  Roman ;  I.  vi.  152. 
Ruddock,        robin        redbreast 

(Folios,  "  Raddocke");   IV. 

ii.  224. 
Runagate,  renegade ;  I.  vi.  137. 

Safe,  sound;  IV.  ii.  131. 

Sample,  example;  I.  i.  48. 

Saucy,  insolent;  I.  vi.  151. 

Saving  reverence,  asking  par- 
don; IV.  i.  5. 

Say  est  thou?  what  do  you  say? 
II.  i.  26. 

Scorn,  mockery;  V.  iv.  125. 


164 


I 


CYMBELINE 


Glossary 


Scriptures,  writings  (with  per- 
haps a  suggestion  of  its  ordi- 
nary meaning)  ;    III.   iv.   83. 

Sear  up,  probably  due  to  a 
blending  of  (i.)  "  sear  "  = 
dry  up,  with  (ii.)  "  sear  "  = 
"  cere,"  i.e.  seal,  cover  with 
wax,  as  linen  is  dipped  in 
melted  wax  to  be  used  as  a 
shroud  (cp.  "cerement," 
"cere  cloth")  ;  I,  i.  116. 

Search' d,  searched  for;  V.  v.  11. 

Season,  time ;   IV.  iii.  22. 

Seasons  comfort,  i.e.  "  gives 
happiness    its   proper    zest  " ; 

I.  vi.  9. 

See,  i.e.  see  each  other;  I.  i. 
124. 

Seek  through,  pursue;  IV.  ii. 
160. 

Seem  "  still  s."  =  ever  put  on 
an  appearance ;  I.  i.  3. 

Seeming,  external  appearance ; 
V.  V.  65. 

,  appearance  of  fact;  "this 

hath  some  s.,"  this  seems 
well  founded ;  V.  v.  452. 

Self,  same;  I.  vi.  122. 

Self-figured,  self-contracted, 
formed  by  themselves 
(Theobald  conj.,  adopted  by 
Warburton,  "  self-iinge/d")  ; 

II.  iii.  123. 

Senseless,  unconscious ;  II.  iii. 
57. 

Senseless  of,  insensible  to ;  I. 
i.  135- 

Serving;  "  in  their  s.,"  em- 
ploying, using  them ;  III.  iv. 
173. 

Set  on,  forward,  march  on ;  V. 
V.  484. 


Sets,  which  sets ;  I.  vi.  170. 
Set  up,  incite;  III.  iv.  90. 

Severally,  each  in  his  own  way; 
V.  V.  397. 

SJiaked,  shaken ;  I.  v.  76. 

Shall,  will;  III.  iv.  131. 

Shame,  shyness,  modesty;  V, 
iii.  22. 

Shameless  -  desperate,  shame- 
lessly desperate ;   V.  v,  58. 

Sharded,  protected  by  scaly 
wing-cases ;  III.  iii.  20. 

Shes,  women ;  I.  iii.  29. 

Shop,  store;  V.  v.  166. 

Short,  take  from,  impair;  I.  vi. 
200. 

Shot,  tavern  reckoning,  score; 
V.  iv.  158. 

Shozv,  deceitful  appearance;  V. 
V.  54- 

Shows,  appearances ;  V.  v.  428. 

'Shrew  me,  i.e.  beshrew  me;  a 
mild  oath ;  II.  iii.  146. 

Shrine,  image;  V.  v.  164, 

Silly,  simple ;  V.  iii.  86. 

Simular,  false,  counterfeited ; 
V.  V.  200. 

Single  oppositions,  single  com- 
bats; (?)  "when  compared 
as  to  particular  accomplish- 
ments "  (Schmidt)  ;  IV.  i.  15. 

Sinks,  makes  to  sink;  V.  v. 
413-  • 

Sinon,  who  persuaded  the  Tro- 
jans to  admit  into  the  city 
the  wooden  horse  filled  with 
armed  men;  III.  iv.  61, 

Sir,  man ;  I.  vi.  160. 

Sirrah,  a  form  of  address  to  an 
inferior;  III.  v.  80. 

Slight  in  sufferance,  careless  in 
permitting  it;  III.  v.  35. 


165 


Glossary 


CYMBELINE 


Slip  you,  let  you  go  free;  IV. 

iii.  22. 
Slnttery,  the  practice  of  a  slut ; 

I.  vi.  44. 

Snuff,  a  candle  that  has  been 

snuffed;  I.  vi.  87.      - 
So,  it  is  well ;  II.  iii.  15. 
Solace,  take  delight ;  I.  vi.  86. 
Soldier    to,    enlisted    to;    (?) 

equal  to;  III.  iv.  186. 
So  like  you,  if  it  please  you; 

II.  iii.  58. 

Something,  somewhat;  I.  i.  86; 

I.  iv.  116. 
Sometime,    sometimes ;    II.    iii. 

76. 

,  once ;  V.  v.  ZZZ- 

Sorer,    more     grievous,     more 

evil;  III.  vi.  13. 
South-fog;  "the  S.  rot  him"; 

it    was     supposed    that     the 

south     wind     was     charged 

with  all  noxious  vapours  and 

diseases;  II.  iii.  135. 
Spectacles,  organs  of  vision ;  I. 

vi.  27. 
Speed;    "  how     you     shall    s.," 

how  you  will  fare ;  V.  iv.  190. 
Sprightly,  of    good    cheer,    in 

god  spirits;  III.  vi.  75. 
Sprited,  haunted;  II.  iii.  143. 
Spritely,  spirit-like,  ghostly ;  V. 

V.  z^28. 

Spurs,  shoots  of  the  root  of  a 

tree;  IV.  ii.  58. 
Staggers,  giddiness,  reeling;  V. 

V.  233. 
Stand,    "  station    of    huntsmen 

waiting    for   game";    II.   iii. 

74. 


Stand,  withstand;  V.  iii.  60. 
Stand'st  so,  dost  stand  up  so; 

III.  V.  56. 
Starve,  die  of  cold;  I.  iv.  176. 
States,     ''  persons     of     highest 

rank  "  ;  III.  iv.  39. 
Statist,     statesman,     politician ; 

II.  iv.  16. 
Still,   continually;    II.   v.    30. 

,  always ;  V.  v.  250. 

Story,   i.e.   the    subject   of   the 

embroidery  on  the  tapestry; 

II.  ii.  27. 

Story  him,  give  an  account  of 

him ;  I.  iv.  34. 
Straight-pight,     straight    fixed, 

erect ;  V.  v.  164. 
Strain,  impulse,  motive ;  III.  iv. 

95. 

,  stock,  race ;   IV.  ii.  24. 

Strait,  straight ;  V.  iii.  7. 
Strange,   foreign,   a    foreigner ; 

I.  vi.  54. 
Stricter,    more    restricted,    less 

exacting;  V.  iv.  17. 
Stride    a    limit,    overpass    the 

bound;  III.  iii.  35. 
Strozv,  strew ;  IV.  ii.  287. 
Suit,  clothe ;  V.  i.  23. 
Supplyant,   auxiliary;    III.   vii. 

14. 
Supplyment,      continuance      of 

supply     (Pope,     "supply"); 

III.  iv.  182. 
Sur-addition,  surname ;  I.  i.  33. 
Szvathing  clothes;  I.  i.  59.  (See 

illustration.) 
Szi'ccf,      sweet-heart      (Collier 

MS.,  "suite");  I.  v.  80. 
Szverve,  go  astray,  mistake;  V. 

iv.  129. 


166 


CYMBELINE 


Glossary 


From  a  brass  in  Rougham  Church, 
Norfolk. 

Syenna,  the   ruler  of   Syenna ; 

IV.  ii.  341. 

Synod,  assembly  of  the  gods ; 

V.  iv.  89. 

Tables,  tablets ;  III.  ii.  39. 

Take,  take  pay;  III.  vi.  24. 

Take  in,  make  to  yield,  over- 
come; III.  ii.  9. 

,  conquer,    overcome;    IV. 

ii.  121. 

Take  me  up,  take  me  to  task; 
II.  i.  4. 

Talents;  "beyond  all  t.,"  ex- 
ceeding any  sum;  I.  vi.  80. 

Tanlings,  those  tanned  by  the 
sun ;  IV.  iv.  29. 

Targes,  targets;  "  t.  of  proof," 
targets  of  tested  metal  (Fo- 
lio 4,  ''  Targets  "  ;  Pope, 
"shields"',  C  a  p  e  1  1  , 
"  targets  ")  •,Y.  \.  S- 

Taste,  feel,  experience ;  V.  v. 
403- 


Tasting   of,   experiencing,   feel- 
ing; V.  v.  308. 
Temper,  mix ;  V.  v.  250. 
Tender;    "  t.    of   our   present," 

tendering     of     our     present 

gift ;  1.  vi.  208. 
Tender    of,    sensitive    to;    III. 

V.  40. 
Tent,  probe;  III.  iv.  118. 
That,  for  that,  because;  III.  v. 

71. 

,  since  that ;  III.  vii.  4. 

,  that  which ;    IV.   ii.    125 ; 

V.  iv.  135. 
,  so  that;  V.  iii.  11;  V.  iv. 

45- 
Thereto,    in    addition    thereto; 

IV.  iv.  2,2. 
Thick,  fast,  quickly;  III.  ii.  58. 
This,  this  is   (S.  Walker  conj. 

"  this'  ")  ;  II.  ii.  50. 
Threat,  threaten ;  IV.  ii.  127. 
Throughfare,  thoroughfare;   1. 

ii.   II. 
Throughly,  thoroughly;  II.  iv. 

12;  III,  vi.  36. 
Thunder-stone,    thunder    bolt; 

IV.  ii.  271. 
Time,  age ;  I.  i.  43. 
Tinct,  colour ;   II.  ii.  23. 
Tirest  on,  preyest  upon    (as  a 

hawk)  ;  III.  iv.  97. 
Titan,  the  god  of  the  Sun ;  III. 

iv.  166. 
Title,  name ;  I.  iv.  93. 
To,  as  to;  I.  iv.  loi. 

,  compared  to;  III.  ii.  10. 

,  is  to  be  compared  to ;  III. 

iii.  26. 

,  in  addition  to ;  IV.  ii.  333. 

Tomboys,  hoydens;   I.  vi.   122. 
Tongue,  speak;  V.  iv.  147. 


167 


Glossary 


CYMBELINE 


Touch,   feeling,   emotion ;    I.   i. 

135. 
Toys,  trifles ;  IV.  ii.  193. 
Trims,   dress,   apparel.   III.   iv. 

167. 
Trip    me,   refute   me,    give   me 

the  lie;  V.  v.  35. 
Troth,  the  truth ;  V.  v.  274. 
Trow,  I  wonder ;  I.  vi.  47. 
True,  honest ;   II.   iii.  75. 
Truer,  more  honest  man;  I.  v. 

43- 

Tune,  voice ;  V.  v.  238. 

Twinn'd,  indistinguishably  sim- 
ilar; I.  vi.  35. 

Unbent;  "to  be  u.,"  to  unbend 

thy  bow;  III.  iv.  iii. 
Undergo,  undertake,   perform ; 

I.  iv.  148;  III.  V.  no. 
Undertake,    give     satisfaction ; 

II.  i.  27. 

Unparagon'd,  matchless ;   I.  iv. 

84;  II.  ii.  17. 
Unpaved,  castrated ;  II.  iii.  ^2>- 
Unprizahle,    invaluable;    I.    iv. 

96. 
Unspcaking     sots,     blockheads 

wanting  power  of  speech ;  V. 

V.  178. 
Untwine,   cease  to   twine;    IV. 

ii.  59- 
Up,  put  up ;  II.  iv.  97. 
Up-cast,      a      throw      directed 

straight  up ;  II.  i.  2. 
Use;  "their  u.,"  they  use  us; 

IV.  iv.  7. 
Utterance;  "at  u.,"  at  all  haz- 
ards; III.  i.  73. 

Valuation,  value ;  IV.  iv.  49. 


Vantage,  opportunity;  I.  iii.  24. 

,  advantage ;  V.  v.  198. 

Vantages,  favourable  oppor- 
tunity ;  II.  iii.  49. 

Venge,  avenge ;  I.  vi.  92. 

Verbal,  wordy,  verbose ;  II.  iii. 
no. 

Very    Cloten,    Cloten    himself; 

IV.  ii.  107. 

View;  "  full  of  v.,"  full  of 
promise;  III.  iv.  150. 

Wage,  wager;  I.  iv.  139. 
Waggish,  roguish;  III.  iv.  160. 
Waked,  awoke ;  V.  v.  429. 
Walk,  withdraw,  walk  aside ;  I. 

i.  176;  V.  V.  119. 
Wanton,    one    brought    up    in 

luxury;  IV.  ii.  8. 
Warrant,  pledge;  I.  iv.  61. 
Watch;    "in   w.,"   awake;    III. 

iv.  43. 
Watching,  keeping  awake  for ; 

II.  iv.  68. 

Way;  "this  w.,"  by  acting  in 

this  way;  IV.  iv.  4. 
Weeds,  garments;  V.  i.  23. 
Well    encounter' d,    well    met ; 

III.  vi.  66. 

Wench-like,  womanish ;  IV.  ii. 

230. 
Went  before,  excelled;  I.  iv.  75. 
What,  what  a  thing;  IV.  i.  16. 
When       as,       when        (Dyce, 

"whenas");   V.  iv.   138;  V. 

V.  435- 

Which,  who;  II.  iii.  in. 
Whiles,  while;  I.  v.  i. 
Who,  whom ;  V.  v.  27. 
Whom,  which ;  III.  i.  53. 
Windows,  eyelids;  II.  ii.  22. 


168 


CYMBELINE 


Glossary 


Wink,  sinii  tneir  eyes;  V.  iv. 
191. 

Winking,  having  the  eyes  shut ; 
11.  iii.  25. 

,  blind;  II.  iv.  89. 

Winter-ground,  protect  from 
inclement  weather  of  the 
winter  (Collier  MS.,  "win- 
ter-guard"; Bailey  conj. 
"  winter-fend  "  ;  Elze,  "  wind 
around")  ;  IV.  ii.  229. 

With,  by ;  II.  iii.  143 ;  V.  iii.  33- 


Woodman,  huntsman ;   III.  vi. 

28. 
Worms,  serpents ;  III.  iv.  37. 
Would  so,  would  have  done  so ; 

V.  V.  189. 
JVrings,  writhes ;  III.  vi.  79. 
Write  against,  denounce;  II.  v. 

32. 
Wrying,  swerving;   V.  i.  5. 

You  're    best,   you   had   better ; 
III.  ii.  79. 


British  megalith. 


169 


cymbeline: 


Critical  Notes. 

BY   ISRAEL   GOLLANCZ. 


I.  I.  3.  '  docs  the  king  '•,  Tyrwhitt's  conjecture  ;  Folios,  '  do's  the 
kings';  Hanmer,  'do  the  king's/ 

I.  i.  133.  'A  year's  age';  this  reading  seems  weak;  one  expects 
some  stronger  expression.  Warburton,  adopted  by  Theobald,  '  a 
yare  [i.e.  speedy]  age  ' ;  Hanmer,  '  many  A  year's  age  ' ;  Nicholson, 
'  more  than  Thy  years'  age ' ;  etc.,  etc. 

I.  iii.  9.  'make  me  with  this  eye  or  ear;  Folios,  'his'  for  'this.' 

I.  iv.  21.  'are  wonderfully  to';  Warburton  conj.  'aids  wonder- 
fully to';  Capell  conj.  'are  wonderful  to';  Eccles,  'and  wonder- 
fully do.' 

I.  iv.  77-78.  'could  not  but';  Malone's  emendation,  of  Folios, 
'  could  not.' 

I.  iv.  118.  '  herein  too  ' ;  so  Folios  3,  4  ;  Folios  i,  2,  '  heerein  to  ' ; 
Grant  White,  '  hercin-to'  Anon,  con].,'  hereunto' ;  Vaughan  conj. 
'  herein,  so.' 

I.  iv.  141.  'afraid';  Warburton's  emendation,  adopted  by  Theo- 
bald; Folios,  'a  Friend';  Becket  conj.  'aified' ;  Jackson  conj. 
'afHanc'd';  Collier  MS.,  '  afeard';  Ingleby  conj.  'her  friend.' 

I.  V.  68.  'chance  thou  changest  on';  so  Folios;  Rowe  reads 
'chance  thou  chancest  on';  Theobald,  'change  thou  chancest  on.' 

I.  vi,  25.  'trust — ';  Boswell's  reading;  Folios,  'trust';  Hanmer, 
'  truest.' ;  Rann,  '  truest.' ;  Thirlby  conj.  '  trusty.' 

I.  vi.  36.  '  number' d'  (?)='rich  in  numbers';  Theobald,  '  un- 
numbe/d';  Warburton,  'Jiumbl'd';  Farmer  conj.  'umbered'; 
Jackson  conj.  '  member'd' ;  Theobald's  excellent  emendation  has 
much  to  commend  it. 

I.  vi.  45.  'desire  vomit  emptiness' ;  Johnson  explained  these 
difficult  words  as  follows : — "  Desire,  when  it  approached  sluttery, 
and  considered  it  in  comparison  with  such  neat  excellence,  would 
not  only  be  not  so  allured  to  feed,  but  seized  with  a  fit  of  loathing, 
would  vomit  emptiness,  would  feel  the  convulsions  of  disgust, 
though  being  unfed,  it  had  no  object."     Pope,  'desire  vomit  ev'n 

170 


CYMBELINE  Notes 

emptiness' ;  Capell,  ^desire  vomit  to  emptiness' ;  Hudson,  'desire 
vomit  from  emptiness.' 

I.  vi.  109.  '  unlustrous' ',  Rowe's  emendation  of  Folios,  'illus- 
trious ' ',  Ingleby,  '  ill-lustrous' 

II.  ii.  49.  'hare  the  raven's  eye';  Theobald's  conj.,  adopted  by 
Steevens;  Folios,  'hear  the  Rauens  eye.' 

II.  iii.  27.  '  With  every  thing  that  pretty  is' ;  Hanmer  (unneces- 
sarily, for  the  sake  of  the  rhyme),  '  With  all  the  things  that  pretty 
bin' ;  Warburton,  '  With  everything  that  pretty  hin.' 

II.  iii.  32.  '  vice ' ;  Rowe's  emendation  of  Folios,  '  voyce.' 
II.  iii.  51.  'soliciting' ;  the  reading  of  Collier  (ed.  2)  ;  Folio  i 
reads  ' solicity' ;  Folios  2,  3,  4,  'solicits' ;  Pope,  'solicits.' 

II.  iii.  105.  'Are  not';  Warburton's  conjecture,  adopted  by 
Theobald,  'cure  not' )  but  no  change  is  necessary. 

III.  i.  20.  'rocks';  Seward  conj.,  adopted  by  Hanmer;  Folios, 
'  Oakes.' 

III.  i.  54.  '  We  do'  these  words  are  part  of  Cymbeline's  speech 
in  Folios ;  Collier  MS.  assigns  them  to  Cloten,  and  the  arrange- 
ment has  been  generally  adopted. 

III.  iii.  2.  'Stoop';   Hanmer's  emendation  of  Folios,  ' Sleepe.' 

III.  iii.  6.  '  turhons' ;  Folio  i,  '  Turbonds' ;  Folios  2,  3,  4,  '  Tur- 
hands.' 

III.  iii.  23.  'hauhle';  Rowe's  emendation  of  Folios,  '  Bahe'; 
Hanmer,  '  hrihe ' ;  the  latter  suggestion  has  been  accepted  by  many 
modern  editors ;  Brae,  '  hadge'  i.e.  decoration,  ribbon. 

Ill,  iii.  34.  'prison  for' ;  Pope's  emendation  of  Folio  i,  'Prison, 
or';  Folios  2,  3,  4,  'Prison  or';  Anon  conj.  and  Vaughan  conj., 
'prison  of.' 

III.  iii.  83.  ' r  the  cave  wherein  they  how';  Warburton's 
emendation;  Folios,  ' F  th'  Cave,  whereon  the  Bowe';  Rowe,  ' /' 
th'  cave,  where  on  the  how  ;  Pope,  'Here  in  the  cave,  wherein'; 
Theobald,  '/'  th'  cave,  there,  on  the  hrow,'  etc. 

III.  iv.  52.  '  Whose  mother  was  her  painting,'  i.e.  '  who  owed 
her  beauty  to  her  painted  face ' ;  or,  perhaps  '  whose  painted  face 
was  the  sum  of  her  woman-like  qualities ' ;  according  to  others, 
*  whose  mother  aided  and  abetted  her  daughter  in  her  trade.' 

III.  iv.  81.  'afore't';  Rowe's  emendation  of  Folios,  '  a-foot.' 

III.  iv.  104.  'I'll  wake  mine  eye-halls  blind  first';  Hanmer's 
emendation;  Folios  read  ''/'//  wake  mine  eye-halles  first';  Rowe, 
'/'//  break  mine  eye-balls  first';  Johnson  conj.,  adopted  by  Ingle- 
by, 'I'll  wake  inine  eye-halls  out  first';  Collier  MS.,  'I'll  crack 
mine  eye-balls  first.' 

171 


Notes 


CYMBELINE 


III.  iv.  135.  Vaughn  proposed  '  With  that  harsh  yiohle — noble 
simply  in  nothing' ;  Spence,  'trash  noble'  {i.e.  base  coin)  ;  Elze, 
'  that  ignoble/  etc. 

III.  iv.  138.  'Where  then?'  perhaps  these  words  should  be  as- 
signed to  Pisanio. 

III.  iv.   177.  'Which  you'll  make  him  know'  Hanmer's  read- 


Which 


ing;  Folios  read  '  Which  zvill  make  Jiim  knozv' ;  Theobald, 
will  make  him  so.' 

III.  V.  44.  '  loiid'st  of  noise';  Capell's  emendation;  Folios  i,  2, 
'  lowd  of  noise  ' ;  Rowe,  '  loudest  noise.' 

Ill  V.  72.  Possibly,  as  explained  by  Johnson,  these  words  are  to 
be  explained  as  meaning,  '  than  any  lady,  than  all  ladies,  than  all 
womankind  ' ;  Hanmer,  '  than  any  lady  wnnning  from  each  one.' 

III.  vi.  71.  Perhaps  we  should  read  with  Hanmer,  'I'd  hid'; 
i.e.  '  I  'd  bid  for  you  and  make  up  my  mind  to  have  you.' 

III.  vii.  9.  'commends' ;  Warburton's  emendation,  adopted  by 
Theobald;  Folios,  'commands'  (perhaps  ^ '  commands  to  be 
given '). 

IV.  ii.  132.  'humour' ;  Theobald's  emendation  of  Folios, 
'  honor.' 

IV.  ii 

'  river ' ; 

IV.  ii 


168.  'parish';    Hanmer, 
Becket  conj.  'parage.' 
224.  '  The  ruddock,'  etc. ; 


marish' ;    Garrick's    version, 


the  kindly  service  of  the  Robin 
Redbreast  is  often  referred  to  in 
Elizabethan  literature,  e.g. 
Covering  zcith  moss  the  dead's 

unclosed  eye, 
The    little    redbreast    teacheth 
char  it  ie. 

Drayton^  The  Owl. 
It  is  worth  while  noting  that 
the  story  of  The  Babes  in  the 
Wood  was  dramatised  as  early 
as  1600  in  Yarrington's  ''  Tivo 
Lamentable  Tragedies." 

IV.  iii.  36.  '  /  heard  no  let- 
ter,' i.e.  (?)  'I've  not  had  a  line';  Hanmer  reads  'I've  had'; 
Capell,  'I  have  had';  Mason  conj.,  and  Warburton  conj.,  adopted 
by  Collier  (ed.  2),' I  had.' 

V.  i.  15.  'dread  it,  to  the  doers'  thrift' ;  perhaps  this  means  that 
the  guilty  benefit  by  their  dread,  for  their  dread  makes  them  re- 

172 


From  an  early  copy  of  tbe  ballad  of 
T/ie  Babes  in  the  Wood. 


J 


CYMBELINE 


Notes 


pent,  and  repentance  brings  them 
salvation.  Theobald  suggested 
'  dreaded  .  .  ,  •  thrift ' ;  but 
the  text,  though  somewhat  dif- 
ficult, may  be  correct. 

V.  iii.  26.  '  that,'  i.e.  '  that 
death.' 

V.  iii.  43.  'they';  Theobald's 
correction  of  Folios,  '  the ' ;  i.e. 
'  retracing  as  slaves  the  strides 
they  made  as  victors. 

V.  iii.  53.  'Nay,  do  not  "won- 
der ' ;  Theobald  reads  '  Nay,  do 
hut  wonder';  Staunton  conj. 
'Ay,  do  hut  wonder';  "  Posthu- 
mus  first  bids  him  not  wonder, 
then  tells  him  in  another  mode 
of  reproach  that  wonder  was  all 
he  was  made  for"  (Johnson). 

V.  iv.  113.  'Mount,  eagle,  to  my  palace  crystalline.' 
companying  drawing. 

V.  iv.  133. 

'A  hook?    O  rare  one! 
Be  not    ...     a  garment 
Nohler  than  that  it  covers' 


From  a  group  crowning  the  summit  of 
the  celebrated  Nautilus  cup  in  Her 
Majesty's  collection,  probably  the 
work  of  German  t,oldsmiths. 


Cp.  the  ac- 


From  a  specimen  of  the  late  XVIth  century. 

V.  V.  54.  '  and  in  time ' ;  so  Folio  i ;  Folios  2,  3,  4,  *"  yes  and  in 
time';  S.  Walker  conj.  'and  in  due  time.'  etc. 


173 


Notes  CYMBELINE 

V.  V.  263.  The  stage  -  direction  first  inserted  by  Hanmer.  It 
explains  the  meaning  of  the  lines,  gets  rid  of  a  long  series  of  un- 
necessary emendations. 

V.  V.  305.  '  scar ' ;  '  had  ever  s.  for/  i.e.  had  ever  received  a 
scar  for;  Folios  i,  2,  '  scarre' ;  Collier  conj.  'sense';  Singer  (ed. 
2),  'score  '  Bailey  conj.  'soar! 

V.  V.  378.  '  When  ye ' ;  Rowe's  emendation  of  Folios,  '  When 
zue';  Capell,  'When  you! 

V.  V.  382.  '-fierce,'  disordered;  (?)  vehement,  rapid;  Collier 
conj.  ' forc'd';  Bailey  conj.  'brief! 

V.  V.  384.  '  distinction  should  be  rich  in!  i-c  "  Ought  to  be  ren- 
dered distinct  by  a  liberal  amplitude  of  narrative"   (Steevens). 

V.  v.  392.  '  our  long  inte/gatories' ;  Tyrwhitt  conj.,  adopted  by 
Malone;  Folios,  'our  long  Interrogatories! 


lU 


CYMBELINE 


Explanatory  Notes. 

The  Explanatory  Notes  in  this  edition  have  been  specially  selected  and 
adapted,  with  emendations  after  the  latest  and  best  authorities,  from  the 
most  eminent  Shakespearian  scholars  and  commentators,  including  Johnson, 
Malone,  Steevens,  Singer,  Dyce,  Hudson,  White,  Furness,  Dowden,  and 
others.  This  method,  here  introduced  for  the  first  time,  provides  the  best 
annotation  of  Shakespeare  ever  embraced  in  a  single  edition. 

ACT  FIRST. 
Scene  I. 

25-27.  I  do  extend,  etc. : — The  meaning  is.  my  praise,  however 
extreme  it  may  appear,  is  less  than  the  truth  warrants :  I  rather 
stop  short  of  his  merits  than  go  the  full  length  of  them. 

31.  Tenantius  was  the  father  of  Cymbeline,  and  the  son  of  Lud. 
On  the  death  of  Lud,  his  younger  brother,  Cassibelan,  took  the 
throne,  to  the  exclusion  of  the  lineal  heir.  Cassibelan  repulsed 
the  Romans  on  their  first  invasion,  but  was  vanquished  on  their 
second,  and  agreed  to  pay  an  annual  tribute  to  Rome.  After  his 
death,  his  nephew  Tenantius  was  established  on  the  throne.  Some 
authorities  tell  us  that  he  quietly  paid  the  tribute  stipulated  by  his 
usurping  uncle;  others,  that  he  refused  it,  and  warred  with  the 
Romans ;  which  latter  account  is  the  one  taken  for  true  by  the  Poet. 

Scene  II. 

30,  31.  she's  a  good  sign,  etc. : — To  understand  the  force  of  this, 
it  should  be  remembered  that  anciently  almost  every  sign  had  a 
motto,  or  some  attempt  at  a  witticism  underneath. 

Scene  IV. 

[Enter  ...  a  Dutchman,  and  a  Spaniard.]  "It  has  been  ob- 
served," says  Verplanck,  "  that  the  behaviour  of  the  Spaniard  and 
the  Dutchman,  who  are  stated  to  be  present  during  this  animated 
scene,  is  in  humorous  accordance  with  the  apathy  and  taciturnity 
usually  attributed  to  their  countrymen.  Neither  the  Don  nor 
Mynheer  utters  a  syllable.  'What  was  Imogen  to  them,  or  they 
to  Imogen,'  that  they  should  speak  of  her?"     White  says  "their 

175 


Notes  CYMBELINE 

mere  presence  has  a  dramatic  value,  as  indicating  the  mixed  com- 
pany of  travellers  in  which  this  scene  takes  place." 

16,17.  a  great  deal  from  the  matter: — That  is,  makes  the  de- 
scription of  him  very  distant  from  the  truth. 

141.  afraid,  .  .  .  ix-'iser : — That  is;  you  are  the  wiser  in  fear- 
ing to  have  your  wife  put  to  the  proof.  To  screw  Posthumus  up 
to  the  sticking-point,  the  villain  here  imputes  his  backwardness 
to  a  distrust  of  his  wife,  and  so  brings  his  confidence  in  her  over 
to  the  side  of  the  wager  and  trial.  The  original  reads,  a  friend 
instead  of  afraid.  The  latter  word  was  suggested  by  Warburton, 
and  adopted  by  Theobald.  It  is  not  altogether  easy  to  get  at  the 
meaning  of  a  friend  in  such  a  connection :  besides,  Posthumus 
has  just  professed  himself  "her  adorer,  not  her  friend."  And 
the  change  is  further  approved  by  what  lachimo  says  just  after: 
"  But,  I  see,  you  have  some  religion  in  j^ou,  that  yoii  fear  "  ;  that  is, 
evidently,  fear  to  have  your  wife's  honour  attempted,  lest  it  should 
give  way.  It  need  scarce  be  said,  that  to  such  a  man  as  lachimo 
religion  and  superstition  are  synonymous  terms. 

Scene  V. 

33,  34.  I  do  not  like  her,  etc. : — This  soliloquy  is  pronounced  by 
Johnson  to  be  "  very  inartificial,"  and  he  declares  that  Cornelius 
makes  "  a  long  speech  to  tell  himself  what  himself  knows."  The 
speech  might  deserve  such  censure,  were  it  not  intended  for  the 
audience,  to  relieve  their  anxiety  at  mischievous  ingredients  being 
left  in  the  hands  of  the  Queen.  It  is  no  less  useful  to  prepare  us 
for  the  seeming  return  of  Imogen  from  death  to  life. 

84.  The  violets,  cowslips,  .  .  .  my  closet: — Upon  this  pas- 
sage Clarke  has  the  following :  "  The  art  with  which  the  Poet  and 
dramatist  has  placed  these  words  in  the  mouth  of  this  queen  mis- 
creant is  worthy  of  remark.  He  makes  her  use  these  beauteous 
and  innocent  products  of  earth  as  mere  cloaks  to  her  wickedness ; 
she  concocts  '  perfumes '  and  '  confections '  from  them  as  a  veil  to 
the  '  drugs '  and  '  poisonous  compounds  '  which  she  collects  for 
the  fellest  purposes.  It  enhances  the  effect  of  her  guilt,  her  thus 
forcing  these  sweet  blossoms  to  become  accomplices  in  her  vile 
schemes;  and  we  loathe  her  the  more  for  her  surrounding  her 
unhallowed  self  with  their  loveliness.  Observe,  too,  how  skil- 
fully Shakespeare  has  made  this  evil  woman  order  her  ladies  to 
'gather  these  flowers' — how  she  desires  that  they  shall  be  borne 

176 


i 


CYMBELINE  Notes 

to  her  closet — her  laboratory;  not  gathering  or  caring  for  them 
herself;  not  caring  for  the  touch,  and  scent,  and  sight  of  these 
gentle  things — that  all  good  people  instinctively  love,  and  cherish, 
and  caress.  How  different  is  the  Poet's  treatment  of  the  subject, 
where  he  makes  the  virtuous  Friar  Laurence  rise  with  the  dawn, 
himself  to  gather  the  'precious-juiced  flowers,'  'ere  the  sun  ad- 
vance his  burning  eye  ' ;  and  dilating  with  fond  enthusiasm  on  their 
'  many  virtues  excellent,'  and  philosophizing  on  their  varied  quali- 
ties and  purposes !  " 

Scene  VI. 

99.  What  both  you  spur  and  stop  : — The  information  which  you 
seem  to  press  forward  and  yet  withhold.  The  allusion  is  to  horse- 
manship. So  in  Sidney's  Arcadia:  "  She  was  like  a  horse  desir- 
ous to  runne,  and  miserably  spurred,  but  so  short-reined,  as  he 
cannot  stirre  forward." 

210.  Concerning  the  art  with  which  the  character  of  Imogen  is 
worked  out,  especially  in  her  interview  with  lachimo.  White,  in 
his  Shakespeare's  Scholar,  has  these  just  and  well-put  thoughts: 
"  The  firm,  undallying  chastity  of  Imogen  is  indicated  with  unsur- 
passable tact  and  skill  in  this  Scene.  She  is  slow  to  understand 
lachimo;  but  the  moment  he  makes  his  proposition  plainly,  before 
a  word  of  anger  or  surprise  passes  her  lips,  she  calls  for  the  faith- 
ful servant  of  her  lord,  to  remove  him  who  has  insulted  her  and 
his  friend's  honour.  Then  her  indignation  bursts  from  her ;  but 
again  and  again  she  interrupts  its  flow  with  What,  ho,  Pisanio! 
She  holds  no  question  with  him  who  made  such  a  proposition  to 
her ;  enters  into  no  dispute  of  why  or  wherefore :  she  seeks  nothing 
but  the  instantaneous  removal  of  the  man  who  has  dared  to  at- 
tempt her  chastity.  Not  only  does  she  refuse  all  consideration 
of  the  right  or  wrong  of  the  proposition,  but  the  mere  proposal 
changes,  on  the  moment,  all  previous  relations  between  her  and 
the  proposer,  although  they  were  established  by  her  husband  him- 
self. It  is  not  until  her  pure  soul,  as  quick  to  believe  good  as  it 
was  slow  to  imagine  evil,  is  quieted  by  the  entire  withdrawal  of 
lachimo's  advances,  and  the  assignment  of  a  comprehensible 
though  not  excusable  reason  for  them,  that  she  ceases  to  call  for 
him  who  is  in  some  sort  the  representative  of  her  husband.  An 
exquisite  touch  of  the  master's  hand  occurs  in  a  single  pronoun 
in  the  succeeding  speech  of  Imogen.  Born  a  princess,  she  has 
given  herself  to  Posthumus,  a  nameless  man,  as  freely  as  if  she 

177 


Notes  CYMBELINE 

were  a  peasant's  daughter  ;  and  she  is  remarkable,  with  all  her  dig- 
nity, for  her  unassuming  deportment :  but  the  insult  of  lachimo 
stings  her  into  pride,  and,  for  the  first  and  only  time,  she  takes 
her  state,  and  speaks  of  herself  in  the  plural  number.  She  says, 
to  expound  his  beastly  mind  to  us." 

ACT  SECOND. 
Scene  I. 

[Cloten.]  The  character  of  Cloten  was  for  a  long  time  thought 
to  be  out  of  nature  and  monstrous.  But  Miss  Seward  declared 
him  the  exact  prototype  of  a  man  she  once  knew :  "  The  unmean- 
ing frown  of  the  countenance ;  the  shuffling  gait ;  the  burst  of 
speaking;  the  bustling  insignificance;  the  fever-and-ague  fits  of 
valour ;  the  froward  techiness ;  the  unprincipled  malice ;  and,  what 
is  most  curious,  the  occasional  gleams  of  good  sense  amid  the 
floating  clouds  of  folly  which  generally  darkened  and  confused 
the  man's  brain,  and  which,  in  Cloten,  we  are  apt  to  impute  to  a 
violation  of  unity  of  character; — but  in  the  sometime  Captain 
C n  I  saw  the  portrait  of  Cloten  was  not  out  of  nature." 

Scene  II. 

13.  rushes: — It  was  customary  in  Shakespeare's  time  to  strew 
floors  with  rushes ;  and  the  Poet,  with  the  license  of  his  art,  speaks 
as  though  the  same  custom  had  obtained  in  Rome. 

22,23.  windows  .  .  .  tinct: — The  eyelids  a.vetht  windows  oi 
the  eyes.  So  in  Romeo  and  Juliet,  IV.  i.  100,  loi :  "  Thy  eyes' 
windows  fall,  like  death,  when  he  shuts  up  the  day  of  life."  And 
in  Venus  and  Adonis: — 

"  The  night  of  sorrow  now  is  turn'd  to  day : 
Her  two  blue  windows  faintly  she  up-heaveth." 

This  passage  is  an  exact  description  of  the  eyelid  of  a  fair  beauty, 
which  is  white,  laced  with  veins  of  blue.  By  asure  is  understood 
not  a  dark  blue,  but  a  tinct  or  effusion  of  a  blue  colour — the  blue 
of  heaven's  own  tinct.  Drayton  seems  to  have  had  this  passage  in 
his  mind: — 

"  And  these  sweet  veins  by  nature  rightly  .plac'd. 
Wherewith  she  seems  the  white  skin  to  have  lac'd." 


CYMBELINE  Notes 

45.  The  tale  of  Terens: — Tereus  and  Progne  is  the  second  tale 
in  A  Petite  Palace  of  Pettie  his  Pleasure,  1576.  The  story  is  re- 
lated in  Ovid,  Metamorphes,  1.  vi. ;  and  by  Gower  in  his  Con- 
fessio  A  mantis. 

48.  dragons  of  the  night: — The  task  of  drawing  the  chariot  of 
Night  was  assigned  to  dragons,  on  account  of  their  supposed 
watchfulness.  So  in  A  Midsummer-Night's  Dream,  III.  ii.  379: 
"  Night's  swift  dragons  cut  the  clouds  full  fast." 

51.  The  inexpressible  purity  and  delicacy  of  this  Scene  have 
been  often  commended  and  cannot  be  overpraised.  The  imagery 
all  shows  "  of  heaven's  own  tinct,"  as  though  by  some  secret  sym- 
pathy it  had  caught  the  very  life  and  quality  of  the  subject.  Its 
richness  and  rareness  enchant  the  senses ;  but  the  enchantment 
is  wrought  so  entirely  through  the  imagination,  that  the  senses  are 
at  the  same  time  purified  and,  as  it  were,  turned  into  soul  in  the 
contemplation.  The  description  of  Imogen  would  almost  engage 
our  respect  upon  the  describer,  but  that  we  already  know  lachimo 
to  be  one  of  those  passionless  minds  in  which  gross  thoughts  are 
most  apt  to  lodge ;  and  that  the  unaccustomed  awe  of  virtue, 
which  Imogen  struck  into  him  at  their  first  interview,  only  chas- 
tises down  his  tendencies  to  gross-thoughtedness  while  in  her 
presence.  Thus  his  delicacy  of  speech  only  goes  to  heighten  our 
impression  of  Imogen's  character  inasmuch  as  it  seems  to  come, 
not  from  him,  but  from  her  through  him;  and  as  something  that 
must  be  divine  indeed,  not  to  be  strangled  in  passing  through  such 
a  medium. 

Scene  III. 

20.  A  similar  figure  occurs  in  Paradise  Lost,  v.  197 :  "  Ye  birds, 
that  singing  up  to  heaven-gate  ascend,  bear  on  your  wings  and 
in  your  notes  His  praise."     And  Shakespeare,  in  Sonnet  XXIX : — 

"  Haply  I  think  on  thee,  and  then  my  state. 
Like  to  the  lark  at  break  of  day  arising 
From  sullen  earth,  sings  hymns  at  heaven's  gate." 

Divers  other  poets,  from  Chaucer  downwards,  have  the  same 
figure.  The  whole  song  may  have  been  suggested  by  a  passage 
in  Lyly's  Alexander  and  Campaspe: — 

"  Who  is  't  now  we  hear? 
None  but  the  lark  so  shrill  and  clear : 

179 


Notes  CYMBELINE 

Now  at  heaven's  gate  she  claps  her  wings, 
The  morn  not  waking  till  she  sings. 
Hark,  hark!  with  what  a  pretty  throat 
Poor  robin  red-breast  tunes  his  note ; 
Hark !  how  the  jolly  cuckoos  sing 
Cuckoo,  to  welcome  in  the  spring." 

57.  Senseless! — "The  cunning  queen,"  observes  Clarke,  "uses 
this  word  with  the  signification  of  unconscious ;  her  obtuse  son 
affrontedly  disclaims  it,  as  signifying  stupid,  devoid  of  sense. 
The  angry  susceptibility  and  techiness  of  ignorance,  just  suffi- 
ciently aware  of  its  own  incapacity  to  be  perpetually  afraid  that  it 
is  found  out  and  insulted  by  others,  blended  with  the  stolid  con- 
ceit that  invariably  accompanies  this  inadequate  self-knowledge, 
are  all  admirably  delineated  in  Cloten :  he  is  a  dolt  striving  to 
pass  for  an  accomplished  prince,  a  vulgar  boor  fancying  himself, 
and  desirous  of  being  taken  for,  a  thorough  gentleman." 

91.  [Imogen.]  Mrs.  Jameson  has  this  comment  of  clear  insight 
and  analysis :  "  Cloten  is  odious ;  but  we  must  not  overlook  the 
peculiar  fitness  and  propriety  of  his  character,  in  connection  with 
that  of  Imogen.  He  is  precisely  the  kind  of  man  who  would  be 
most  intolerable  to  such  a  woman.  He  is  a  fool — so  is  Slender, 
and  Sir  Andrew  Aguecheek :  but  the  folly  of  Cloten  is  not  only 
ridiculous,  but  hateful ;  it  arises  not  so  much  from  a  want  of  un- 
derstanding as  a  total  want  of  heart ;  it  is  the  perversion  of  senti- 
ment, rather  than  the  deficiency  of  intellect;  he  has  occasional 
gleams  of  sense,  but  never  a  touch  of  feeling.  Imogen  describes 
herself  not  only  as  '  sprited  with  a  fool,'  but  as  '  frighted  and 
anger'd  worse.'  No  other  fool  but  Cloten — a  compound  of  the 
booby  and  the  villain — could  excite  in  such  a  mind  as  Imogen's 
the  same  mixture  of  terror,  contempt,  and  abhorrence.  The  stu- 
pid, obstinate  malignity  of  Cloten  and  the  wicked  machinations  of 
the  queen  justify  whatever  might  need  excuse  in  the  conduct 
of  Imogen — as  her  concealed  marriage  and  her  flight  from  her 
father's  court — and  serve  to  call  out  several  of  the  most  beautiful 
and  striking  parts  of  her  character :  particularly  that  decision  and 
vivacity  of  temper  which  in  her  harmonize  so  beautifully  with  ex- 
ceeding delicacy,  sweetness,  and  submission." 

131-134.  thou  wert  digniHed  enough,  etc.: — If  you  were  to  be 
dignified  only  in  comparison  to  your  virtues,  the  under  hangman's 
place  is  too  good  for  you. 


180 


i 


CYMBELINE  Notes 

Scene  IV. 

76.  the  true  life  on 't  zuas : — "  lachimo's  language,"  says  Johnson, 
"  is  such  as  a  skilful  villain  would  naturally  use ;  a  mixture  of 
airy  triumph  and  serious  deposition.  His  gaiety  shows  his  seri- 
ousness to  be  without  anxiety,  and  his  seriousness  proves  his 
gaiety  to  be  without  art." 

125.  All  sworn : — It  was  anciently  the  custom  for  the  servants 
of  great  families  (as  it  is  now  for  the  servants  of  the  king)  to  take 
an  oath  of  fidelity  on  their  entrance  into  office. 

ACT  THIRD. 
Scene  I. 

30-33.  The  famed  Cassibelan,  etc. : — The  Poet  has  transferred 
to  Cassibelan  an  adventure  which  happened  to  his  brother  Nen- 
nius.  Holinshed  says,  "  The  same  historic  also  maketh  mention 
of  Nennius,  brother  to  Cassibelane,  who  in  fight  happened  to  get 
Caesar's  sword  fastened  in  his  shield  by  a  blow  which  Caesar  stroke 
at  him.  But  Nennius  died,  within  15  dales  after  the  battel,  of  the 
hurt  received  at  Caesar's  hand;  although  after  he  was  hurt  he 
slew  Labienus,  one  of  the  Roman  tribunes." 

34-38.  Come,  etc. : — The  pith  and  shrewdness  of  this  ungeared 
and  loose-screwed  genius  here  go  right  to  the  mark,  although  they 
go  off  out  of  time. 

60-62.  the  first  of  Britain,  etc. : — Here  the  Poet  follows  Holin- 
shed :  "  Mulmutius,  the  son  of  Cloten,  got  the  upper  hand  of  the 
other  dukes  or  rulers ;  and,  after  his  father's  decease,  began  to 
reign  over  the  whole  monarchy  of  Britain,  in  the  year  of  the  world 
3529.  He  made  many  good  laws,  which  were  long  after  used, 
called  Mulmutius'  laws.  After  he  had  established  his  land,  he  or- 
dained him,  by  the  advice  of  his  lords,  a  crown  of  gold,  and 
caused  himself  with  great  solemnity  to  be  crowned.  And  because 
he  was  the  first  that  bore  a  crown  here  in  Britain,  after  the  opinion 
of  some  writers,  he  is  named  the  first  king  of  Britain,  and  all  the 
other  before  rehearsed  are  named  rulers,  dukes,  or  governors." 

70-77.  The  main  points  of  this  speech  are  thus  set  forth  in 
Holinshed :  "  Kymbeline  was  of  the  Britains  made  king,  after  the 
decease  of  his  father,  in  the  year  of  the  world  3944,  and  before  the 
birth  of  our  Saviour  33.    This  man,  as  some  write,  was  brought 

181 


Notes  CYMBELINE 

up  at  Rome,  and  there  made  knight  by  Augustus  Csesar,  under 
whom  he  served  in  the  wars,  and  was  in  such  favour  with  him 
that  he  was  at  liberty  to  pay  his  tribute  or  not.  But  here  is  to  be 
noted  that,  akhough  our  histories  do  affirm  that  Kymbehne  lived 
in  quiet  with  the  Romans,  and  continually  to  them  paid  the  trib- 
utes which  the  Britains  had  covenanted  with  Julius  Csesar  to  pay, 
yet  we  find  in  the  Roman  writers,  that  after  Julius  Caesar's  death, 
when  Augustus  had  taken  upon  him  the  rule  of  the  Empire,  the 
Britains  refused  to  pay  that  tribute :  whereat,  as  Cornelius  Tacitus 
reporteth,  Augustus,  being  otherwise  occupied,  was  contented  to 
wink;  howbeit,  through  earnest  calling  upon  to  recover  his  right 
by  such  as  were  desirous  to  see  the  uttermost  of  the  British  king- 
dom, at  length,  in  the  tenth  year  after  the  death  of  Julius  Csesar, 
Augustus  made  provision  to  pass  with  an  army  over  into  Britain, 
and  was  come  forward  upon  his  journey  into  Gallia  Celtica,  or,  as 
we  may  say,  into  these  hither  parts  of  France.  But,  here  receiv- 
ing advertisements  that  the  Pannonians,  which  inhabited  the  coun- 
try now  called  Hungary,  and  the  Dalmatians,  whom  we  now  call 
Slavons,  had  rebelled,  he  thought  it  best  first  to  subdue  these  reb- 
els, near  home,  rather  than  to  seek  new  countries,  and  leave  such 
in  hazard  whereof  he  had  present  possession ;  and  so,  turning  his 
power  against  the  Pannonians  and  Dalmatians,  he  left  off  for  a 
time  the  wars  of  Britain." 

Scene  II. 

50-73.  0,  for  a  horse  .  .  .  sloiij'. — Mrs.  Jameson  quotes  these 
lines,  and  remarks  thus  upon  Imogen :  "  In  the  eagerness  of  Imo- 
gen to  meet  her  husband  there  is  all  a  wife's  fondness,  mixed  up 
with  the  breathless  hurry  arising  from  a  sudden  and  joyful  sur- 
prise ;  but  nothing  of  the  picturesque  eloquence,  the  ardent,  exu- 
berant, Italian  imagination  of  Juliet,  who,  to  gratify  her  impa- 
tience, would  have  her  heralds  thoughts;  press  into  her  service  the 
nimble-pinioned  doves,  and  wind-swift  Cupids — change  the  course 
of  nature,  and  lash  the  steeds  of  Phoebus  to  the  west.  Imogen 
only  thinks  '  one  score  of  miles,  'twixt  sun  and  sun,'  slow  travel- 
ling for  a  lover,  and  wishes  for  a  horse  with  wings." 

"^Z-  riding  wagers : — This  practice  was  prevalent  in  Shake- 
speare's time.  Fynes  Moryson,  speaking  of  his  brother's  putting 
out  money  to  be  paid  with  interest  on  his  return  from  Jerusalem, 
defends  it  as  an  honest  means  of  gaining  the  charges  of  his  jour- 
ney, especially  when  "  no  meane  lords,  and  lords'  sonnes,  and  gen- 

182 


CYMBELINE  '  Notes 

tlemen  in  our  court,  put  out  money  upon  a  horse-race  under  them- 
selves, yea,  upon  a  journey  afoote." 

Scene  III. 

21.  full-zving'd  eagle: — The  epithet  full-zvinged,  applied  to  the 
eagle,  sufficiently  marks  the  contrast  of  the  Poet's  imagery ;  for 
whilst  the  bird  can  soar  beyond  the  reach  of  human  eye,  the  insect 
mentioned  in  the  previous  line  can  but  just  rise  above  the  surface 
of  the  eanli,  and  that  at  the  close  of  day. 

35-39-  What  should  we  speak  of,  etc.: — Upon  these  lines  John- 
son has  this  fine  observation:  "  This  dread  of  an  old  age  unsup- 
plied  with  matter  for  discourse  and  meditation  is  a  sentiment  natu- 
ral and  noble.  No  state  can  be  more  destitute  than  that  of  him 
who,  when  the  delights  of  sense  forsake  him,  has  no  pleasures  of 
the  mind." 

78.  [Exeunt  Guiderius  and  Arviragus.]  "  The  princely  brothers 
in  the  cave,"  says  Lloyd,  "  are  in  a  manner  common  types  of  natu- 
ral Britain,  divided  off  and  lying  separate  from  the  continental 
world ;  they  are  brought  up  in  simplicity  but  in  rudeness,  in  purity 
but  in  inexperience,  in  safety  but  in  dullness,  but  their  breed  and 
blood  declare  themselves  when  their  spirits  rebel  at  the  seclusion, 
and  prefer  to  take  the  noble  chances  of  glory,  experience,  useful- 
ness, recollections,  even  though  scathed  in  the  trial.  Posthumus 
describes  two  stages  of  British  progress,  undisciplined  but  daring 
against  Julius  Caesar,  now  of  improved  knowledge  and  skill  to  aid 
their  valour,  but  his  own  example  proves  his  country  still  a  tyro 
when  culture  of  yesterday  is  matched  with  the  veteran  craft  and 
villainy  of  centuries.  The  young  princes  are  rather  representa- 
tives of  the  earlier  state,  but  they  convey  the  idea  of  a  fund  of 
healthy  vigour  in  the  background  to  reinforce  the  failures  of  first 
attempts,  and  by  their  aspirations  they  set  a  mark  that  declares 
the  country's  destiny." 

Scene  IV. 

3.  as  I  have  now: — That  is,  have  now  longed  to  see  Posthumus. 
It  would  seem  something  fitter  to  Imogen's  state  of  mind  to  read : 
"  Ne'er  long'd  his  mother  so  to  see  him  first."  Nevertheless,  the 
sense  is  clear  enough.  Daniel  changed  to  "  as  I  do  now,"  wherein 
some  editors  have  followed  him. 

183 


Notes  ^  CYMBELINE 

54.  richer  than  to  hang  by  the  zvalls: — That  is,  too  rich  to  be 
hung  up  as  useless  among  the  neglected  contents  of  a  wardrobe. 
Clothes  were  not  formerly,  as  at  present,  kept  in  drawers,  or  given 
away  as  soon  as  time  or  change  of  fashion  had  impaired  their 
value.  On  the  contrary,  they  were  hung  up  on  wooden  pegs,  in  a 
room  appropriated  to  the  purpose ;  and,  though  such  as  were  com- 
posed of  rich  substances  were  occasionally  ripped  for  domestic 
uses,  articles  of  inferior  quality  were  suffered  to  hang  by  the  walls 
till  age  and  moths  had  destroyed  what  pride  would  not  permit  to 
be  worn  by  servants  or  poor  relations.  It  is  said  that  when  Queen 
Elizabeth  died  she  was  found  to  have  left  above  three  thousand 
dresses  behind  her.  Steevens  once  saw  one  of  those  repositories 
at  an  ancient  mansion  in  Suffolk,  which  had  been  preserved  with 
superstitious  reverence  for  almost  a  century  and  a  half. 

139-143-  Hath  Britain  all  the  sun,  etc. : — "  It  seems  probable," 
says  Knight,  "  that  here,  as  also  on  a  similar  occasion  in  Richard 
11. ,  Shakespeare  had  in  his  thoughts  a  passage  in  Lyly's  Euphues: 
'  Nature  hath  given  to  no  man  a  country,  no  more  than  she  hath 
house,  or  lands,  or  living.  Plato  would  never  account  him  ban- 
ished that  had  the  sun,  air,  water,  and  earth,  that  he  had  before: 
where  he  felt  the  winter's  blast,  and  the  summer's  blaze ;  where 
the  same  sun  and  the  same  moon  shined :  whereby  he  noted  that 
every  place  was  a  country  to  a  wise  man,  and  all  parts  a  palace 
to  a  quiet  mind.'  " 

162.  quarrelons  as  the  weasel: — Weasels  were  formerly  kept 
in  houses,  instead  of  cats,  for  the  purpose  of  killing  vermin.  The 
Poet  no  doubt  speaks  from  observation ;  while  a  youth  he  would 
have  frequent  opportunities  to  ascertain  their  disposition. 

166.  common-kissing  Titan: — So  in  Sidney's  Arcadia:  "And 
beautiful  might  have  been,  if  they  had  not  suffered  gieedy  Phoebus 
over  often  and  hard  to  kisse  them." 

180,181.  Your  means  abroad,  etc.: — As  for  your  subsistence 
abroad,  you  may  rely  on  me. 

Scene  V. 

69.  This  night  forestall,  etc.: — That  is,  may  his  grief  this  night 
prevent  him,  by  an  unexpected  and  premature  death,  from  ever 
seeing  another  day. 

loi.  Or  this,  or  perish : — Meaning,  probably,  I  must  either 
practise  this  deceit  upon  Cloten  or  perish  by  his  fury."  Johnson 
thought  the  words  should  be  given  to  Cloten. 

184 


CYMBELINE  Notes 

Scene  VI. 

1-27.  "  Exquisitely  feminine  throughout,"  says  Clarke,  "  Is  this 
speech.  Its  confession  of  limb-weary  fatigue,  of  faintness  from 
exhaustion,  its  moral  strength  amid  physical  weakness,  its  tender 
epithet  for  the  husband  whose  cruel  injustice  is  felt  none  the 
less  deeply  for  the  irremovable  love  she  still  cherishes  for  him, 
its  timid  hesitation  in  calling  for  help,  its  vague  thought  of  defence 
in  best  draw  my  sword,  its  avowal  of  greater  dread  at  the  very 
sight  of  the  sword  than  the  sword-drawer  can  hope  to  inspire  by 
use  of  the  weapon,  together  with  the  final  softly  smiling,  half  self- 
pitying  exclamation,  half  aspiration  for  divine  aid,  are  all  in- 
tensely true  to  the  mingled  mental  courage  and  bodily  delicacy  of 
such  a  woman  as  Imogen,  who  is  the  very  embodiment  of  supreme 
womanhood." 

ACT  FOURTH. 
Scene  I. 

15.  imperceiverant : — Cloten  is  a  very  notable  instance  of  a  man 
or  a  thing,  with  not  merely  a  loose  screw  in  the  gearing,  but  with 
all  the  screws  loose.  His  character  reminds  us  of  nothing  so 
much  as  the  description  of  Desborough  in  Woodstock :  "  His 
limbs  seemed  to  act  upon  different  and  contradictory  principles. 
They  were  not,  as  the  play  says,  in  a  concatenation  accordingly : 
the  right  hand  moved  as  if  it  were  on  bad  terms  with  the  left, 
and  the  legs  showed  an  inclination  to  foot  it  in  different  and  op- 
posite directions."  Precisely  so  it  is  with  Cloten's  mind.  There 
are  the  materials  of  a  man  in  him,  but  they  are  not  made  up :  his 
whole  being  seems  a  mass  of  unhingement,  disorder,  and  jumble, 
full  of  unaccountable  jerks  and  twitches:  the  several  parts  of. him 
hold  no  mutual  intercourse  or  intelligence,  but  appear  set  at  in- 
curable odds  one  with  another,  each  having  a  will  and  a  way  of  its 
own,  so  that  no  two  of  them  can  pull  or  strike  together.  Hence 
the  excruciating,  though  at  the  same  time  laughable,  unfitness  of 
all  that  he  does,  and  most  that  he  speaks.  He  has  indeed  a  rea- 
sonable gift  of  practical  shrewdness,  is  not  without  frequent 
flashes  of  strong  and  ready  sense ;  yet  even  these,  through  his 
overweening  self-importance  of  rank  and  place,  only  serve  to  in- 
vest him  all  the  more  with  the  air  of  a  conceited,  blustering,  con- 

185 


Notes  CYMBELINE 

sequential  booby.  Rendered  ludicrous  by  whatsoever  is  best  in 
him,  and  rendered  frightful  by  whatsoever  is  not  ludicrous;  sav- 
age in  feeling,  awkward  in  person,  absurd  in  manners;  he  is  of 
course  just  the  last  man  that  any  lady  of  sense  or  sensibility  could 
be  brought  to  endure.  His  calling  Imogen  an  imperceiverant 
thing  for  not  appreciating  his  superiority  to  Posthumus  in  the 
qualities  that  invite  a  lady's  respect  and  affection,  aptly  illustrates 
the  refined  irony  with  which  the  character  is  drawn. 

Scene  II. 

72)^  74.  answering  a  slave,  etc. : — That  is,  answering  one  who 
called  me  a  slave. 

118.  /  am  perfect  what: — I  know  perfectly  what  I  have  done. 

198.  made  so  much  on: — Mrs.  Radcliffe,  as  quoted  by  Ver- 
planck,  here  says :  "  No  master  ever  knew  how  to  touch  the  ac- 
cordant springs  of  sympathy  by  small  circumstances  like  our  own 
Shakespeare.  In  Cymbeline,  for  instance,  how  finely  such  cir- 
cumstances are  made  use  of  to  awaken,  at  once,  solemn  expecta- 
tion and  tenderness,  and,  by  recalling  the  softened  remembrance 
of  a  sorrow  long  past,  to  prepare  the  mind  to  melt  at  one  that 
was  approaching;  mingling  at  the  same  time,  by  means  of  a  mys- 
terious occurrence,  a  slight  tremor  of  awe  with  our  pity !  Thus, 
when  Belarius  and  Arviragus  return  to  the  cave  where  they  had 
left  the  unhappy  and  worn-out  Imogen  to  repose,  while  they  are 
yet  standing  before  it,  and  Arviragus — speaking  of  her  with  ten- 
derest  pity  as  '  poor  sick  Fidele ' — goes  out  to  inquire  for  her,  sol- 
emn music  is  heard  from  the  cave,  sounded  by  that  harp  of  which 
Guiderius  says,  '  Since  the  death  of  my  dearest  mother  it  did  not 
speak  before.  All  solemn  things  should  answer  solemn  accidents.' 
Immediately,  Arviragus  enters  with  Fidele  senseless  in  his  arms. 
Tears  alone  can  speak  the  touching  simplicity  of  the  whole  scene." 

215-218.  Why,  he  but  sleeps,  etc.: — John  Webster's  Vittoria  Cor- 
ombona  has  a  very  noble  passage  which  may  have  been  suggested 
by  this  in  the  text : — 

"  O  thou  soft  natural  death !  thou  art  joint  twin 
To  sweetest  slumber :  no  rough-bearded  comet 
Stares  on  thy  mild  departure  :  the  dull  owl 
Beats  not  against  thy  casement :   the  hoarse  wolf 
Scents  not  thy  carrion :  pity  winds  thy  corse, 
While  horror  waits  on  princes." 

186 


CYMBELINE  Notes 

224-229.  the  ruddock,  etc. : — The  old  writers  often  sweeten  their 
hnes  with  the  tender  reverences  here  ascribed  to  the  redbreast. 
The  beautiful  superstition  is  thus  spoken  of  in  Thomas  Johnson's 
Cornucopia,  1596:  "The  robin  redbreast,  if  he  find  a  man  or 
woman  dead,  will  cover  all  his  face  with  mosse;  and  some  thinke 
that  if  the  body  should  remain  unburied  he  would  cover  the  whole 
body  also."  Webster  has  the  following  choice  lines,  being  part 
of  the  dirge  sung  by  Cornelia  for  young  Marcello,  in  the  play 
quoted  in  the  preceding  note : — 

"  Call  for  the  robin  redbreast  and  the  wren, 
Since  o'er  shady  grove  they  hover. 
And  with  leaves  and  flowers  do  cover    \ 
The  friendless  bodies  of  unburied  men." 

Drayton,  also,  has  it,  evidently  in  imitation  of  Shakespeare :— ^ 

"  Covering  with  moss  the  dead's  unclosed  eye, 
The  little  redbreast  teacheth  charity." 

But  perhaps  the  most  touching  use  of  it  is  in  the  old  ballad  of  The 
Children  in  the  Wood,  which  is  too  well  known  to  need  quoting 
here. 
258  et'  seq.   [Song.]     Here  is  Collins's  imitation  of  this  song: — 

"  To  fair  Fidele's  grassy  tomb 

Soft  maids  and  village  hinds  shall  bring 
Each  opening  sweet  of  earliest  bloom, 
And  rifle  all  the  breathing  spring. 

No  wailing  ghost  shall  dare  appear 
To  vex  with  shrieks  this  quiet  grove; 

But  shepherd  lads  assemble  here, 
And  melting  virgins  own  their  love. 

No  withered  witch  shall  here  be  seen; 

No  goDlins  lead  their  nightly  crew; 
The  female  fays  shall  haunt  the  green, 

And  dress  thy  grave  with  pearly  dew. 

The  redbreast  oft,  at  evening  hours, 

Shall  kindly  lend  his  little  aid, 
With  hoary  moss  and  gathered  flowers. 

To  deck  the  ground  where  thou  art  laid. 

187 


Notes  CYMBELINE 

When  howling  winds  and  beating  rain 

In  tempests  shake  the  sjdvan  cell; 
Or,  midst  the  chase,  on  every  plain. 

The  tender  thought  on  thee  shall  dwell — 

Each  lonely  scene  shall  thee  restore ; 

For  thee  the  tear  be  truly  shed ; 
Beloved  till  life  can  charm  no  more, 

And  mourned  till  pity's  self  be  dead." 

"  There  is  nothing  to  us  more  striking,"  says  Knight,  "  than  the 
contrast  which  is  presented  between  the  free  natural  lyric  sung  by 
the  brothers  over  the  grave  of  Fidele  and  the  elegant  poem  which 
some  have  thought  so  much  more  beautiful.  The  one  is  perfectly 
in  keeping  with  all  that  precedes  and  all  that  follows ;  the  other 
is  entirely  out  of  harmony  with  its  associations.  '  To  fair  Fidele's 
grassy  tomb'  is  the  dirge  of  Collins  over  Fidele;  '  Fear  no  more 
the  heat  o'  the  sun  '  is  Fidele's  proper  funeral  song  by  her  bold 
brotJiers." 

280.  Quiet  consummation  have: — Probably  the  best  comment  on 
this  is  furnished  by  the  closing  prayer  in  the  Church  Burial  Serv- 
ice:  "That  we,  with  .all  those  who  are  departed  in  the  true 
faith  of  Thy  holy  Name,  may  have  our  perfect  consummation 
and  bliss,  both  in  body  and  soul,  in  Thy  eternal  and  everlasting 
glory." 

White,  in  his  Shakespeare's  Scholar,  handles  these  verses  rather 
unceremoniously,  calling  them  "  stiff,  formal,  artificial  rhymes, 
worthy  only  of  a  verse-crazed  cit  affecting  the  pastorals."  And 
he  adds  :  "  The  lines  are  the  production  of  some  clumsy  prentice 
of  the  Muse."  Hudson  confesses  that,  possibly  more  from  long 
association  than  from  judgement,  the  lines  feel  to  him  very  much 
at  home  where  they  are,  seem  to  relish  of  the  soil  in  which  they 
are  represented  as  growing,  and  fall  in  so  accordantly  with  the 
spirit  of  the  persons  and  the  occasion,  that  he  can  discover  no 
savour  of  "  affecting  the  pastorals  "  in  them.  Still  Hudson  does 
not  think  that  they  were  written  by  Shakespeare.  Staunton  says : 
"  There  is  something  so  strikingly  inferior,  both  in  the  thoughts 
and  expression  of  the  concluding  couplet  to  each  stanza  in  this 
song,  that  we  may  fairly  set  them  down  as  additions  from  the 
same  hand  which  furnished  the  contemptible  Masque  or  Vision 
that  deforms  the  last  Act." 

377-2>79-  U  I  do  lie,  etc. : — "  Into  the  mouth  of  the  pure-souled 
Imogen,"   observes    Clarke,   "  Shakespeare   has   characteristically 

188 


CYMBELINE  Notes 

put  this  shrinking  from  the  necessity  for  untruth,  and  the  appeal 
to  Heaven  for  divine  forgiveness  for  her  reluctantly  committed 
error.  He  has  depicted  the  same  aversion  to  falsehood  in  the  in- 
nocent and  royal-natured  Perdita ;  while  he  has  made  even  the 
princely  Florizel  condescend  to  misstatements  for  the  sake  of 
needful  concealment.  Thus  clearly  does  the  man  and  poet  Shake- 
speare denote  his  genuine  perception  and  appreciation  of  the 
sacredness  of  truth,  at  the  very  time  that  the  dramatic  Shake- 
speare allows  of  equivocation  as  a  necessary  part  of  dramatic  dis- 
guise." 

Scene  IV. 

6.  revolts :—So  in  King  John,  V.  ii.  151:  "And  you  degener- 
ate, you  ingrate  revolts." 

ACT  FIFTH. 
Scene  III. 

14  et  seq. : — In  the  passage  beginning,  Close  by  the  battle,  etc., 
the  Poet  availed  himself  of  an  incident  of  Scottish  history,  which 
he  found  in  Holinshed :  "  There  was,  near  the  place  of  the  bat- 
tle, a  long  lane,  fenced  on  both  sides  with  ditches  and  walb  made 
of  turf,  through  the  which  the  Scots  that  fled  were  beaten  down 
by  the  enemies  on  heaps.  Here  Hay,  with  his  sons,  supposing 
they  might  best  stay  the  flight,  placed  themselves  overthwart  the 
lane,  beat  them  back  whom  they  met  fleeing,  and  spared  neither 
friend  nor  foe,  but  down  they  went  all  such  as  came  within  their 
reach ;  wherewith  divers  hardy  personages  cried  unto  their  fel- 
lows to  return  back  unto  the  battle." 

68.  charm' d : — Men  were  supposed  to  be  rendered  invulnerable 
in  battle  by  charms.  So  in  Chapman's  Homer,  Iliad,  Book  iv. : 
"  Turne  head,  ye  well-rode  peeres  of  Troy,  feed  not  the  Grecians 
pride ;  they  are  not  charm' d  against  your  points  of  Steele."  And 
Macbeth  (V.  viii.  11,  12  of  the  tragedy),  when  he  comes  to  the 
last  mortal  encounter  with  Macduff,  says  to  him,  referring  to  the 
weird  incantations,  "  Let  fall  thy  blade  on  vulnerable  crests ;  I 
bear  a  charmed  life." 

74-76.  being  now  a  favourer,  etc. : — That  is,  being  but  now  a 
favourer  to  the  Briton,  I  am  a  Briton  no  longer ;  I  have  resumed 


Notes  CYMBELINE 

the  part  I  came  in,  that  of  a  Roman  soldier,  in  which  character  I 
shall  find  a  certain  death. 

94.  [Enter  Cymbcline,  etc.]  This  stage  direction  presents  us 
with  a  piece  of  what  the  Poet  elsewhere  calls  "  inexplicable  dumb 
show."  It  is  hard  to  conceive  what  business  such  a  thing  should 
have  here,  unless  it  were  to  tickle  the  eyes  of  the  groundlings; 
and  in  wishing  it  away,  we  may  well  be  assured  that  it  is  not 
Shakespeare's,  but  was  foisted  in  by  the  players. 

Scene  IV. 

1,2.  The  Gaoler  alludes  to  the  custom  of  putting  a  lock  on  a 
horse's  leg  when  he  is  turned  out  to  pasture. 

14,  15.  /  cannot  .  .  .  constrain'd : — That  is,  in  gyves,  or  fet- 
ters, which  are  desired  by  me  more  than  /  am  constrained  to  wear 
them.  The  change  of  subject  between  desired  and  constrain'd 
makes  the  passage  obscure.  So  in  the  next  sentence  we  have 
another  of  those  elliptical  expressions  so  frequent  in  this  play, 
where  brevity  is  gained  at  the  cost  of  perspicuit3^  Posthumus  is 
representing  his  conscience  as  fettered  or  imprisoned  by  guilt, 
and  penitence  as  the  key  that  is  to  free  it.  To  purchase  this  free- 
dom, he  is  willing  to  repent,  even  to  the  laying  down  of  his  life. 
He  is  supplicating  the  gods  and  begging  that  mercy  may  remit 
whatsoever  is  due  over  and  above  his  life,  which  is  all  he  can 
pay:  though  this  be  not  a  sufficient  ransom,  yet  if  it  be  the  main 
part  of  it,  he  prays  them  to  be  content  with  it,  and  not  exact  the 
rest. 

30.  From  the  stage  direction  preceding  this  line  to  the  reen- 
trance  of  the  Gaolers,  after  line  151,  we  find  matter  which  it  is 
practically  impossible  -to  attribute  to  Shakespeare,  The  more 
common  opinion  is,  that  the  interlude  was  foisted  in  by  the  play- 
ers, in  order  to  catch  the  interest  of  vulgar  wonder.  That  such 
things  were  sometimes  done,  is  indeed  beyond  question.  It  may 
also  be  observed  that,  if  this  whole  section  be  omitted,  there  will 
appear  no  gap  in  the  play,  unless  in  the  allowing  of  Posthumus 
some  space  for  sleep ;  the  origin  of  the  tablet  being,  for  aught  wo 
can  see,  as  well  explained  without  the  apparition  as  with  it.  Still 
there  is  room  for  the  opinion  that  the  matter  was  worked  in  by 
the  Poet  from  an  older  drama  either  written  by  himself  in  his 
youth,  or  found  among  the  stock-copies  of  the  theatre.  For, 
though  the  tablet  be  as  well  accounted  for  without  the  apparition 
as  with  it,  in  what  Posthumus  afterwards  says  of  it,  yet  the  for- 

190 


CYMBELINE  Notes 

mer  is  itself  as  absurd  as  ...nything  in  the  latter,  and  as  much  be- 
low the  style  of  the  rest  of  the  play.  Nevertheless,  the  contents 
of  the  tablet  are  so  worked  into  the  dialogue  as  to  make  the  tablet 
itself  an  inseparable  item  of  the  drama.  The  most  likely  con- 
clusion, then,  seems  to  be,  that  the  Poet  found  the  matter  already 
in  popular  favour  on  the  stage,  and  so  worked  it  in  with  his  own 
"  noble  stuff,"  for  purposes  too  obvious  to  need  remarking  upon. 

Scene  V. 

88.  So  feat,  etc. : — Upon  the  tribute  in  this  passage  paid  to 
Imogen,  Clarke  has  the  following  observations :  "  This  gentle 
adaptation  of  herself  and  her  womanly  accomplishments  to  her 
assumed  office  of  page  crowns  the  perfection  of  Imogen's  char- 
acter. Her  power,  too,  of  attracting  and  attaching  all  who  come 
near  her — her  father,  who  loves  her  in  spite  of  the  harshness  he 
has  shown  her  under  the  influence  of  his  fiendish  queen;  her  hus- 
band, who  has  been  her  '  playfellow  '  when  a  boy,  and  her  lover  in 
manhood,  even  after  her  supposed  death ;  her  faithful  servant, 
Pisanio;  her  brothers,  who  know  her  but  as  a  poor,  homeless  boy; 
Belarius,  whose  sympathy  for  the  sick  youth  makes  the  way  forth 
seem  tedious ;  and  Lucius,  who  pleads  for  the  gentle  lad's  life  with 
so  earnest  a  warmth,  while  bearing  so  affectionate  a  testimony  to 
his  qualities  as  a  page — this  power  of  hers  speaks  indirectly,  but 
indisputably,  in  testimony  of  her  bewitching  nature." 

319.  Assumed  this  age: — Referring  to  the  different  appearance 
which  he  now  makes  in  comparison  with  that  when  Cymbeline  last 
saw  him. 

334.  335-  your  pleasure,  etc. : — Belarius  means,  "  My  crime,  my 
punishment,  and  all  the  treason  that  I  was  accused  of,  originated 
in,  and  were  founded  on,  your  caprice  only." 

352-354.  Thou  weep'st,  etc. :— Johnson  explains  the  passage 
thus :  "  Thy  tears  give  testimony  to  the  sincerity  of  thy  relation ; 
and  I  have  the  less  reason  to  be  incredulous,  because  the  actions 
which  you  have  done  within  my  knowledge  are  more  incredible 
than  the  story  which  you  relate." 

388.  your  three  motives: — The  motives  of  you  three.  So  in 
Romeo  and  Juliet,  II.  iii.  51.  "both  our  remedies"  means  "the 
remedy  for  us  both." 

435-442.  When  as,  etc. : — Coleridge  remarks  upon  this  strange 
"label"  as  follows:  "It  is  not  easy  to  conjecture  why  Shake- 
speare should  have  introduced  this  ludicrous  scroll,  which  answers 

IQI 


Notes  CYMBELINE 

no  one  purpose,  either  propulsive  or  explicatory,  unless  as  a  joke 
on  etymology."  Collier  thinks  "  it  is  very  possible  that  the  scroll 
and  the  vision  were  parts  of  an  older  play." 

459.  My  peace  we  will  begin  : — "  It  should  apparently  be,"  says 
Hudson  in  his  earlier  note,  "  '  By  peace  we  will  begin,'  "  and  he  so 
has  it  in  the  later  Harvard  Edition.  "  The  Soothsayer,"  continues 
Hudson,  "  says  that  the  label  promised  to  Britain  '  peace  and 
plenty.'  To  which  Cymbeline  replies,  *  We  will  begin  with  peace 
to  fulfil  the  prophecy.'  " 


192 


CYMBELINE 


Questions  on  Cymbeline. 


1.  When  was  the  play  probably  written? 

2.  Mention  passages  that  are  of  doubtful  authenticity. 

3.  What  parts  of  the  play  were  derived  from  Holinshed?  What 
from  Boccaccio? 

4.  State  some  facts  which  indicate  that  Shakespeare  had  in 
mind  the  fairy  tale  of  "  Little  Snow-white  "  in  constructing  the 
story  of  Imogen. 

ACT  FIRST. 

5.  In  the  opening  speech  of  the  First  Gentleman  what  is  indi- 
cated concerning  the  character  of  the  king  and  his  power  over  his 
court  ? 

6.  In  what  fundamental  traits  are  Lear  and  Cordelia  suggested 
by  Cymbeline  and  Imogen? 

7.  State  the  positions  in  relation  to  each  other  in  which  we  find 
the  principal  actors  of  the  story  at  the  opening  of  the  play.  What 
is  gained  by  having  these  facts  presented  by  an  observer  like  the 
First  Gentleman  and  not  allowing  them  to  be  given  piecemeal  by 
the  participators  in  the  action?  Does  this  method  foreshadow 
complexity  of  plot? 

8.  Show  the  Queen's  purpose  in  allowing  the  interview  between 
Posthumus  and  Imogen. 

9.  What  does  Posthumus  say  of  his  loyalty?  How  do  the  ring 
and  the  bracelet  enter  as  elements  of  the  plot? 

10.  Where  does  Imogen  show  some  traces  of  barbaric  spirit? 

11.  In  Sc.  ii.  are  the  asides  of  the  Second  Lord  necessary  to 
point  the  imbecility  of  Cloten?  What  effect  of  "atmosphere,"  so 
to  speak,  do  they  produce? 

12.  What  time  has  elapsed  before  Sc.  iii.?  What  secondary 
though  important  character  does  it  introduce? 

13.  Though  Posthumus  does  not  lay  the  wager,  which  would 
be  too  great  a  strain  for  our  sympathies,  yet  how  does  he  provoke 
lachimo  into  proposing  it?    How  is  the  bargain  concluded?    Why 

193 


Questions  CYMBELINE 

does  Shakespeare  introduce  two  characters — the  Dutchman  and 
the  Spaniard — in  Sc.  iv.,  and  give  them  nothing  to  say? 

14.  How  in  Sc.  V.  is  the  cruel  nature  of  the  Queen  shown?  Is 
there  indication  here  that  the  poisons  she  gives  to  Pisanio  were 
intended  for  any  other  but  him? 

15,  Comment  on  the  lofty  moral  feeling  of  Imogen  as  exhibited 
during  lachimo's  attempt  upon  her  chastity?  Compare  her  con- 
duct here  with  Isabella's  under  similar  circumstances  in  Measure 
for  Measure.  What  is  seen  in  Imogen's  readiness  to  forgive? 
From  a  previous  knowledge  of  lachimo  does  the  spectator  suspect 
the  real  facts  at  the  bottom  of  the  trunk  intrigue? 


ACT  SECOND. 

16.  Sc.  ii.  of  Act  I.  and  Sc.  i.  of  Act  II.  present  Cloten,  but  keep 
him  outside  the  action  of  the  play ;  what  evidently  is  the  dramatic 
purpose? 

17.  In  Sc.  ii.  what  indications  of  religious  feeling  does  Imogen 
give  before  retiring? 

18.  What  qualities  of  imagination  does  lachimo  show  in  the 
bedchamber  scene?  What  was  the  tale  of  Tereus?  How  does 
this  touch  suggest  the  story  of  Paola  and  Francesca  in  The  Divine 
Comedy? 

19.  How  is  the  vulgarity  of  Cloten  shown  (Sc.  iii.)  in  contrast 
with  the  song  the  musicians  sing  to  Imogen  ? 

20.  What  is  effected  by  the  entrance  of  Cymbeline  and  the 
Queen  upon  the  scene  of  Cloten's  wooing  of  Imogen?  Does 
Cloten  anywhere  but  here  speak  in  verse  or  in  elevated  language? 
What  does  Shakespeare  wish  to  imply  by  this  means? 

21.  Explain  the  psychology  of  a  nature  such  as  Cloten,  who 
seeks  to  gain  his  ends  by  vilifying  another  rather  than  by  present- 
ing the  best  in  himself. 

22.  What  taunt  of  Imogen  touches  his  vanity?  How  does 
Cloten  show  stupidity  in  failing  to  see  an  opportunity  for  revenge 
presented  before  his  eyes? 

23.  How  was  lachimo's  description  of  Imogen's  bedchamber 
foreshadowed?  What  is  the  effect  of  the  details  given  here  that 
were  omitted  in  his  enumeration  while  in  the  chamber?  How 
nearly  contemporaneous  would  be  the  scene  of  the  picture  of  Cleo- 
patra on  the  Cydnus? 

194 


CYMBELINE  Questions 

24,  Does  Posthumus  seem  to  yield  too  readily  to  belief  in 
Imogen's  guilt?  How  does  he  show  his  religious  nature?  What 
is  the  purpose  of  the  dramatist  in  withholding  the  element  of 
proof  that  would  carry  most  conviction  until  after  Posthumus  had 
shown  himself  persuaded? 

25.  Is  there  any  purpose  in  Sc.  v.  beyond  exhibiting  the  emo- 
tional condition  of  Posthumus?    What  course  is  he  meditating? 


ACT   THIRD. 

26.  Explain  the  relations  of  Britain  and  Rome  previous  to  the 
time  indicated  in  Sc.  i.  How  has  this  scene  with  Caius  Lucius 
been  prepared  for?  Comment  on  the  degeneracy  of  the  king  as 
exhibited  here. 

27.  What  command  does  Posthumus  lay  upon  Pisanio?  Why 
was  his  purpose  not  made  known  by  Posthumus  himself  when  he 
was  last  upon  the  stage?  Compare  Pisanio  with  other  link- 
persons  in  Shakespeare's  plays  and  show  how  he  is  something 
more  than  a  mediary. 

28.  Comment  on  the  imaginative  quality  of  Imogen's  mind. 
Compare  her  speech  in  Sc.  ii.  with  Juliet's  {Romeo  and  Juliet, 
III.  ii.)  beginning,  Gallop  apace,  you  Hery-footed  steeds.  Which 
possesses  more  imagination?  Do  these  two  speeches  convey  a 
feeling  of  the  difference  between  the  English  and  Italian  tempers? 

29.  What  preparation  has  been  made  for  Sc.  iii.?  What  does 
it  reveal  necessary  to  a  full  understanding  of  the  plot?  What 
does  it,  in  turn,  foreshadow? 

30.  Shakespeare  again  reverts  to  his  favourite  device  of  showing 
in  contrast  the  life  of  courts  with  the  life  of  the  country.  Develop 
the  following  suggestions :  the  effect  of  nature  upon  exiles  from 
the  court  as  seen  in  The  Tempest,  As  You  Like  It,  and  Cymbelinc ; 
the  effect  of  a  rural  or  a  natural  life  upon  the  high-born,  as  seen 
in  The  Winter's  Tale,  The  Tempest,  and  Cymbeline. 

31.  What  is  the  immediate  effect  upon  Imogen  of  the  matter 
contained  in  Posthumus's  letter?  To  what  does  she  attribute  his 
defection  ? 

52.  How  does  this  scene  exhibit  her  intellectual  qualities? 

53.  What  does  she  say  about  self-slaughter?  Compare  her  in 
this  with  Hamlet. 

34.  What  is  Imogen's  state  of  mind  as  shown  in  line  116  et  seq.7 
Compare  her  with  Hermione  under  a  similar  charge. 

195 


Questions  CYMBELINE 

35.  Imagine  Helena  in  this  situation ;  how  would  she  have  borne 
herself? 

36.  How  does  Pisanio  provide  a  solution?  In  what  way  is  he 
an  agent  for  the  irony  of  fate? 

yj.  How  in  Sc.  v.  does  the  Queen  reveal  the  passion  that  actuates 
her  to  crime?     Compare  her  with  Lady  Macbeth. 

38.  What  information  does  Cloten  get  concerning  the  flight  of 
Imogen?  Does  he  inform  Cymbeline  and  the  Queen?  What 
dramatic  use  is  made  of  his  neglect? 

39.  What  low  revenge  does  he  plan? 

40.  Point  out  the  speech  in  Sc.  vi.  that  marks  the  climax  of  the 
play.    Show  how  it  also  foreshadows  the  denouement. 

ACT  FOURTH. 

41.  How  does  Cloten  compare  with  Posthumus  in  physical 
form?  What  was  Shakespeare's  purpose  in  showing  Cloten  with 
such  disparity  between  mind  and  body?  Contrast  him  in  this  re- 
spect with  Caliban.  How  are  his  voice  and  manner  of  speaking 
described? 

42.  How  long  may  we  imagine  Imogen  to  have  lived  with 
Belarius  and  her  two  brothers  in  the  cave?  What  differences  do 
you  see  in  the  characters  of  Guiderius  and  Arviragus? 

43.  What  device  leaves  the  stage  clear  (Sc.  ii.)  for  Guiderius 
and  Cloten?  How  is  it  fitting  that  Guiderius  should  be  the  slayer 
of  Cloten?    How  does  the  younger  brother  comment  on  the  act? 

44.  Show  how  fatalism  is  illustrated  in  deed  as  well  as  professed 
in  words  by  the  three  cave-men  in  the  exigency  of  Cloten's  death. 

45.  In  the  apparent  death  of  Imogen  we  see  a  situation  which 
has  pivotal  relations  to  nearly  all  the  principal  characters.  Indi- 
cate these  relations  to  the  Queen,  to  Pisanio,  to  Guiderius  and  Ar- 
viragus, to  Posthumus,  Cloten,  and  Lucius. 

46.  The  audience  being  aware  that  Imogen  is  not  dead,  how 
are  the  obsequies  managed  so  as  to  escape  the  ridiculous?  Com- 
pare the  philosophy  of  the  song  with  that  of  Hamlet's  soliloquy. 
Is  there  dramatic  fitness  between  this  song  and  the  singers? 
What  is  suggested  by  the  antiphonal  form? 

47.  In  what  plight  does  Sc.  iii.  present  Cymbeline?  Why  is 
this  Scene  devoted  almost  entirely  to  him,  who  has  been  a  rather 
passive  agent  in  the  action  hitherto  ?  Does  the  state  of  Cymbeline 
arouse  pity? 

196 


CYMBELINE  Questions 

48.  Does  the  action  of  the  play  pass  out  of  the  range  of  human 
agency,  as  is  suggested  by^Pisanio  in  the  last  line  of  Sc.  iii.? 

49.  In  what  way  does  Sc.  iv.  show  that  the  natural  instincts  of 
man  are  bound  at  some  time  to  become  too  strong  for  the  re- 
straints of  superficial  culture? 


ACT  FIFTH. 

50.  How  long  a  time  has  elapsed  since  Posthumus  was  last 
seen?  What  view  does  he  still  hold  of  Imogen?  What  determina- 
tion does  he  take  as  to  his  future  ? 

51.  Does  Posthumus  recognize  lachimo  in  Sc.  ii.?  If  so,  why 
does  he  leave  him  after  overcoming  him  with  arms? 

52.  What  does  the  compunction  of  lachimo  foreshadow? 

53.  What  is  effected  by  suggesting  the  scene  in  action  that  is 
so  vigorously  described  by  Posthumus  in  Sc.  iii.? 

54.  How  is  Fortune  again  shown  to  act  in  the  preservation  of 
Posthumus  in  battle?    How  did  Posthumus  secure  his  own  arrest? 

55.  How  is  remorse  shown  in  Posthumus?  What  atonement 
does  he  propose  making? 

56.  Who  appear  in  dumb  show?  What  do  they  rehearse?  What 
does  Jove  speak  in  reply?  Does  the  show  assist  in  any  way  in  the 
resolution  of  the  plot? 

57.  Compare  the  speeches  of  the  Gaoler  with  that  of  the  Porter 
in  Macbeth,  the  Gravediggers  of  Hamlet,  and  comment  on  the 
quality  of  humour  in  the  first. 

58.  Of  whom  do  Cymbeline  and  Belarius  speak  at  the  beginning 
of  Sc.  v.? 

59.  What  dramatic  necessity  requires  the  announcement  of  the 
Queen's  death  early  in  this  Scene? 

60.  Compare  the  manner  of  her  death  with  that  of  the  death  of 
Lady  Macbeth. 

61.  By  what  stages  does  the  action  lead  to  the  revelation  of  the 
identity  of  Imogen? 

62.  How  has  the  Poet  prepared  the  mind  of  the  spectator  to  look 
sympathetically  upon  lachimo  when  detection  forces  his  con- 
fession? 

63.  How  does  the  control  of  events  return  once  more  into  the 
hands  of  Pisanio? 

64.  What  brings  about  the  discovery  of  the  identity  of  Guiderius 
and  of  Arviragus? 

197 


Questions  CYMBELINE 

65.  To  what  does  the  story  of  Imogen  and  Posthumus  subor- 
dinate itself  in  the  last  Act?  ,. 

66.  What  is  the  office  in  the  plot  of  the  oracle  and  its  inter- 
pretation by  the  Soothsayer  ? 


67.  Why  is  this  play  named  CymhcUnc,  considering  the  fact 
that  the  king  takes  so  small  a  part  in  the  action?  What  is  the 
underlying  idea  of  the  plot  based  upon  the  relations  sustained  by 
Cymbeline  to  Posthumus,  Imogen,  Belarius,  and  indirectly  to 
Guiderius  and  Arviragus? 

68.  This  play  is  full  of  religious  and  moral  ideas.  Do  you 
think  of  any  other  play  of  Shakespeare's  in  which  the  characters 
seem  so  much  actuated  by  professed  principles  instead  of  inherent 
moral  forces? 

69.  What  forms  of  religious  observance  are  referred  to  in  this 
play? 

70.  Point  out  passages  that  contain  ideas  traceable  to  the  re- 
ligion of  ancient  Rome ;  to  the  Druidism  of  early  Britain ;  to 
Christianity.  Where  are  there  suggestions  of  Calvinistic  theology? 

71.  Has  Shakespeare  made  any  play  more  intricate  or  more 
perfect  in  construction?  Comment  especially  on  the  ingenuity 
with  which  he  has  worked  out  the  denouement. 

72.  Is  this  play  deficient  in  humour?  Is  Cloten  a  character  of 
comedy?     Does  the  play  suffer  for  want  of  comic  relief? 

y2-  Do  you  call  the  play  a  tragedy?  What  inherent  necessity 
stands  in  the  way  of  the  Queen  and  Cloten  sharing  in  the  general 
pardon  afforded  in  the  last  Act? 

74.  Wherein  resides  the  charm  of  Imogen?  Do  you  agree  with 
Swinburne  that  "the  woman  above  all  Shakespeare's  women  is 
Imogen  "  ? 

75.  What  method  is  largely  employed  in  the  delineation  of  the 
character  of  Posthumus? 

76.  In  the  character  of  Pisanio  does  Shakespeare  once  and  for 
all  dispose  of  the  charge  that  he  held  the  people  of  the  middle 
classes  in  contempt? 


198 


^  *  ^,Csl0"©cu 


UNIVERSITY   OF  CALIFORNIA-LOS   ANGELES 


L  009  978  318  5 


